Albrecht Dürer  

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-[[Image:Durer technique.jpg|thumb|200px|This illustration of a [[perspective]] machine was published by [[Albrecht Dürer]] in ''[[The Painter's Manual]]'' in 1525. In Postmodern criticism, this image has been used to illustrate the power of perspective and the strong patriarchal nature of early modern culture with the strong division of gender roles. It is also cited in discussions of the cultural construction of the nude in Western Art since the Renaissance.[http://employees.oneonta.edu/farberas/arth/ARTH200/durer_artistdrawingnude.html] ]]{{Template}}+[[Image:Durer technique.jpg|thumb|200px|The illustration Artist ''[[Drawing a Nude with Perspective Device]]'' of a [[perspective]] machine was published by [[Albrecht Dürer]] in ''[[The Painter's Manual]]'' in 1525. In Postmodern criticism, this image has been used to illustrate the power of perspective and the strong patriarchal nature of early modern culture with the strong division of gender roles. It is also cited in discussions of the cultural construction of the nude in Western Art since the Renaissance.[http://employees.oneonta.edu/farberas/arth/ARTH200/durer_artistdrawingnude.html] ]]{{Template}}
'''Albrecht Dürer''' ([[May 21]], [[1471]] – [[April 6]], [[1528]]) was a [[German painter]] and [[mathematician]]. Along with [[Rembrandt]] and [[Goya]], Dürer is considered one of the greatest creators of [[old master print]]s. He was born and died in [[Nuremberg, Germany|Nuremberg]], [[Germany]] and is best known for his [[old master print|prints]], often executed in series, including the ''Apocalypse'' (1498) and his two series on the passion of Christ, the ''Great Passion'' (1498–1510) and the ''Little Passion'' (1510–1511). Dürer's best known individual [[engraving]]s include ''[[:Image:Duerer - Ritter, Tod und Teufel (Der Reuther).jpg|Knight, Death, and the Devil]]'' (1513), ''[[:Image:Hieronymus Albrect Dürer 1514.jpg|Saint Jerome in his Study]]'' (1514) and ''[[Melencolia I]]'' (1514), which has been the subject of the extensive analysis and speculation. His most iconic images are his woodcuts of the ''[[:Image:Duerer-apocalypse.png|Four Horsemen of the Apocalypse]]'' (1497–1498) from the ''Apocalypse'' series, the "[[Dürer's Rhinoceros|Rhinoceros]]", and numerous self-portraits. Dürer probably did not cut his own woodblocks but employed a skilled carver who followed his drawings faithfully. '''Albrecht Dürer''' ([[May 21]], [[1471]] – [[April 6]], [[1528]]) was a [[German painter]] and [[mathematician]]. Along with [[Rembrandt]] and [[Goya]], Dürer is considered one of the greatest creators of [[old master print]]s. He was born and died in [[Nuremberg, Germany|Nuremberg]], [[Germany]] and is best known for his [[old master print|prints]], often executed in series, including the ''Apocalypse'' (1498) and his two series on the passion of Christ, the ''Great Passion'' (1498–1510) and the ''Little Passion'' (1510–1511). Dürer's best known individual [[engraving]]s include ''[[:Image:Duerer - Ritter, Tod und Teufel (Der Reuther).jpg|Knight, Death, and the Devil]]'' (1513), ''[[:Image:Hieronymus Albrect Dürer 1514.jpg|Saint Jerome in his Study]]'' (1514) and ''[[Melencolia I]]'' (1514), which has been the subject of the extensive analysis and speculation. His most iconic images are his woodcuts of the ''[[:Image:Duerer-apocalypse.png|Four Horsemen of the Apocalypse]]'' (1497–1498) from the ''Apocalypse'' series, the "[[Dürer's Rhinoceros|Rhinoceros]]", and numerous self-portraits. Dürer probably did not cut his own woodblocks but employed a skilled carver who followed his drawings faithfully.
== Legacy == == Legacy ==

Revision as of 10:48, 8 March 2008

Image:Durer technique.jpg
The illustration Artist Drawing a Nude with Perspective Device of a perspective machine was published by Albrecht Dürer in The Painter's Manual in 1525. In Postmodern criticism, this image has been used to illustrate the power of perspective and the strong patriarchal nature of early modern culture with the strong division of gender roles. It is also cited in discussions of the cultural construction of the nude in Western Art since the Renaissance.[1]

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Albrecht Dürer (May 21, 1471April 6, 1528) was a German painter and mathematician. Along with Rembrandt and Goya, Dürer is considered one of the greatest creators of old master prints. He was born and died in Nuremberg, Germany and is best known for his prints, often executed in series, including the Apocalypse (1498) and his two series on the passion of Christ, the Great Passion (1498–1510) and the Little Passion (1510–1511). Dürer's best known individual engravings include Knight, Death, and the Devil (1513), Saint Jerome in his Study (1514) and Melencolia I (1514), which has been the subject of the extensive analysis and speculation. His most iconic images are his woodcuts of the Four Horsemen of the Apocalypse (1497–1498) from the Apocalypse series, the "Rhinoceros", and numerous self-portraits. Dürer probably did not cut his own woodblocks but employed a skilled carver who followed his drawings faithfully.

Legacy

Dürer exerted a huge influence on the artists of succeeding generations; especially on printmaking, the medium through which his contemporaries mostly experienced his art, as his paintings were mostly in private collections located in only a few cities. His success in spreading his reputation across Europe through prints was undoubtedly an inspiration for major artists such as Raphael, Titian, and Parmigianino, who entered into collaborations with printmakers to distribute their work beyond their local region.

His work in engraving seems to have had an intimidating effect upon his German successors, the Little Masters, who attempted a few large engravings, but continued Dürer's themes in tiny, rather cramped, compositions. The early Lucas van Leiden was the only Northern European engraver to successfully continue to produce large engravings in the first third of the century. The generation of Italian engravers who trained in the shadow of Dürer all either directly copied parts of his landscape backgrounds (Giulio Campagnola and Christofano Robetta), or whole prints (Marcantonio Raimondi and Agostino Veneziano). However, Dürer's influence became less dominant after 1515, when Marcantonio perfected his new engraving style, which in turn, traveled over the Alps to dominate Northern engraving also.

In painting, Dürer had relatively little influence in Italy, where probably, only his altarpiece in Venice was to be seen, and his German successors were less effective in blending German and Italian styles.

His intense and self-dramatising self-portraits have continued to have a strong influence up to the present, and may be blamed for some of the wilder excesses of artist's self-portraiture, especially in the nineteenth and twentieth centuries.

He has never fallen from critical favour, and there have been revivals of interest in his works Germany in the Dürer Renaissance of c.1570–1630, in the early nineteenth century, and in German Nationalism from 1870–1945.

He is commemorated on the calendar of the Lutheran Church with other artists on April 6.



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