Тема: Dürer, Albrecht
Вид реферата: топик
Дисциплина: Иностранный язык
Формат: Microsoft Word документ
Сжатие: ZIP архив
Создан: 7 января 2007 года
hold that the perfection of form and beauty is contained in the sum of all men.
Dürer, Four Books on Human Proportions, 1528
Albrecht (b. May 21, 1471, Imperial Free City of Nürnberg [Germany]--d.
April 6, 1528, Nürnberg), German painter, printmaker, draughtsman and art
theorist, generally regarded as the greatest German Renaissance artist. His
vast body of work includes altarpieces and religious works, numerous portraits
and self-portraits, and copper engravings. His woodcuts, such as the Apocalypse
series (1498), retain a more Gothic flavour than the rest of his work.
in Nürnberg as the third son of the Hungarian goldsmith Albrecht
Dürer. Began as an apprentice to his father in 1485, but his earliest
known work, one of his many self portraits, was made in 1484. Died in
Nürnberg in 1528.
1513 and 1514 Dürer created the greatest of his copperplate engravings: the
Knight, St. Jerome in His Study, and Melencolia
I--all of approximately the same size, about 24.5 by 19.1 cm (9.5 by 7.5
inches). The extensive, complex, and often contradictory literature concerning
these three engravings deals largely with their enigmatic, allusive,
iconographic details. Although repeatedly contested, it probably must be
accepted that the engravings were intended to be interpreted together. There is
general agreement, however, that Dürer, in these three master engravings,
wished to raise his artistic intensity to the highest level, which he succeeded
in doing. Finished form and richness of conception and mood merge into a whole
of classical perfection.
came from a Hungarian family of goldsmiths, his father having settled in Nuremberg
in 1455. In The Painter's Father Dürer shows the face with
respectful sensitivity. The technique is pencil-like, precise, and enquiring;
the description achieved has a hard brilliance. However, the rest of the
picture may be incomplete, or not all Dürer's work. The rudimentary
background is a far cry from the detailed one in Dürer's own Self-portrait,
and the sitter's clothing is hardly more than sketched in.
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были использованы материалы с сайта http://www.ibiblio.org/louvre/paint/