(Self-portrait, 1500. Art Gallery of the Old Masters, Munich.)
Albrecht Durer (German Albrecht Durer, May 21, 1471, Nuremberg - April 6, 1528, Nuremberg) - greatest master Renaissance, German painter and graphic artist.
Dürer was born into a Hungarian immigrant jeweler family. His first art teacher was his own father, a gold and silversmith. That is why in the paintings of Albrecht Dürer every detail is always written out with jewelry precision, every little thing is taken into account. Look, for example, with what subtlety each blade of grass is drawn in the picture "Grass Bush" or each hair in the image of a hare in the picture "Young Hare", especially the antennae of a hare.
(A bush of grass. 1503. Art Museum, Vienna.)
It seems that the grass is about to rustle under a light breeze of wind. And when you look at a bunny, you just want to reach out and touch its soft silky fur. Both of these paintings are painted in watercolor and gouache with very, very thin brushes. By the way, contemporaries noted that the artist was very fond of carefully peering into nature and was constantly interested in science.
(Young hare. 1502. Albertina Gallery, Vienna.)
When Albrecht was 15 years old, his father realized that his son had a penchant for painting and he sent him to study at the workshop of the famous Nuremberg painter Michael Wolgemuth. In this school, Dürer studied not only drawing, but also engraving on wood and copper. Interestingly, at this school, studies ended with a mandatory trip of graduates. After graduation in 1490, for four years Albrecht Dürer visited several cities in Germany, Switzerland and Holland. continuing to improve in fine arts and processing of materials.
(Portrait of a young Venetian. 1505. Museum of the History of Art, Vienna.)
In 1494, Dürer returned to his homeland in Nuremberg, and soon after his return, he married in the same year. Then he leaves for Italy. In Italy, he made several interesting acquaintances with the work of such masters of the era. early renaissance like Mantegna, Polayolo, Lorenzo di Credi and other masters. In 1495, Dürer returned to Nuremberg and there, until his next trip to Italy in 1505, he created most of his most famous engravings, which made his name so famous.
(Saint Eustathius, ca. 1500-1502. State Museum Hermitage, St. Petersburg.)
Durer was famous not only as a painter, but also as an outstanding graphic artist. Most of Albrecht Dürer's engravings are based on biblical and gospel stories.
(Melancholy. 1514. State Hermitage Museum, St. Petersburg.)
And Albrecht Dürer became famous as great portrait painter. He was the best portrait painter in the entire history of world painting. The heroes of his portraits have always been some very interesting and inspired people. It is amazing that all these people are depicted so realistically that it is hard to believe that they were painted 500 years ago, when artists, in fact, were just beginning to learn how to paint realistic paintings. But the old costumes in the portraits convince us that Dürer, as a portrait painter, was far ahead of his era.
(Portrait of a young man. 1521. Art Gallery, Dresden.)
Thanks to his self-portraits, we can now judge how the artist himself looked. Moreover, no one even doubts that his self-portraits were made no worse than photographs, if photography existed at that time.
(Portrait of Father Dürer at the age of 70. 1497. London National Gallery, London.)
Look at his painting "Self-portrait" from the Prado Museum in Madrid. Albrecht Dürer portrayed himself in rather fashionable, even somewhat dapper, clothes of that time. He has a very fashionable those days, hairstyle with carefully curled and styled hair. Posture betrays in him a proud and smart person with feeling dignity.
(Self-portrait. 1498. Prado Museum, Madrid.)
In 1520 the artist travels to Holland again. There he, unfortunately, falls victim to an unknown disease that tormented him for 8 years until the end of his life. Even modern doctors find it difficult to diagnose. Albrecht Dürer died in his hometown in Nuremberg.
(Hands of a Prayer. 1508. Albertina Gallery, Vienna.)
Albrecht Durer. Scientific activity.
Albrecht Dürer was also an outstanding scientist. He knew mathematics, physics, astronomy very well and studied philosophy. Dürer wrote books about art and architecture, wrote poetry. He maintained acquaintances with the most famous writers and philosophers of that time. Dürer drew several geographical and astronomical maps. AT last years life Albrecht Dürer is fond of improving defensive fortifications. This was due to the emergence and widespread firearms. Even in 1527, he wrote the book "Guide to the strengthening of cities, castles and gorges", where he described his fundamentally new type military fortifications.
(Dürer's magic square, fragment of the engraving "Melancholia", 1514. State Hermitage Museum, St. Petersburg.)
Dürer made his famous magic square, drawn on his engraving "Melancholia". This magic square is interesting because he filled it with numbers in order from 1 to 16 so that the sum 34 is obtained not only by adding numbers vertically, horizontally and diagonally, as required by the rules of any magic square. The sum 34 is also obtained in all four quarters, in the central quadrangle, and even when four corner cells are added. Albrecht Dürer also managed to enter into this magic square the year of creation of the engraving "Melancholia" - 1514. Pay attention to the middle two squares in the first vertical. It is clearly seen that Dürer made a correction of the mistake. The number 6 is corrected to 5, and 5 is corrected to 9. It remains a mystery whether the artist deliberately left us to see these corrections and then what is the point of us seeing these corrections.
(Rhinoceros, woodcut, 1515. British museum, London.)
The famous painting by Durer "Rhinoceros" at first glance is unremarkable. Moreover, a close comparison of this painting with a photograph of a real rhinoceros reveals several inaccuracies. The uniqueness of this painting lies in the fact that Albrecht Dürer never saw a live rhinoceros or its images. This picture is drawn from a verbal description. For the first time, a rhinoceros was brought to Europe from Asia to Portugal. Immediately, Dürer was sent a letter from Portugal with verbal description this amazing animal. At that time there were no telephones and Albrecht Dürer could not ask anything to clarify the details. To appreciate the extent of Dürer's genius, try asking your acquaintances to find some image of an exotic deep-sea animal or a fantastic animal and describe it to you once in writing. Then draw this animal according to this description and then compare it with the original image.
Like many prominent people of the Renaissance, Albrecht Dürer was a universalist and distinguished himself in many areas. But still he valued painting more than all sciences. In one of his books you can read an interesting thought: "Thanks to painting, the measurement of the earth, waters and stars has become clear, and much more will be revealed through painting."
The presentation will help to more fully present A. Dürer's painting "Grasses", will show that although Dürer painted large multi-color paintings for temples, all this did not prevent him from admiring ordinary, unremarkable herbs at a superficial glance. Only such an attentive attitude to each blade of grass that is underfoot allows the artist to discover its peculiarity, originality, to reveal beauty in the simple for future generations.
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A. DURER "HERBS" The artist Dürer painted large multicolored paintings for temples, but all this did not prevent him from admiring ordinary, unremarkable, at first glance, herbs. Presentation made by the teacher primary school MBOU lyceum №6 Essentuki Shevchenko N.A.
A. DURER "HERBS" You can slide your finger along the stalk, you can get dirty on sticky milk, and you can cut yourself on a sharp leaf. Do you remember how grass smells? Can you imagine the smells of mid-summer herbs? – Consider a fragment of "Herbs" What associations do you have when looking at this piece of nature?
Pay attention to the different illumination: some grass leaves got a ray of sun, and some were in the shade. And all this was noticed by the artist.
Such an attentive attitude to every blade of grass that is underfoot allows the artist to discover its peculiarity, originality, to discover beauty in the simple for future generations.
A. Durer. Self-portrait at the age of 13. Silver pencil. 1484.
I praise the great skill of Albrecht Dürer ... Erasmus of Rotterdam
Albrecht Dürer is one of the the greatest artists all over the world. In his book Dialectics of Nature, F. Engels names Dürer directly next to Leonardo da Vinci as one of the best representatives of the Renaissance.
The time when Dürer lived and worked was in many ways contradictory, difficult, difficult for his homeland - Germany. The country broke up into a number of separate small states. In the cities, a popular movement against the unlimited power of the rich was growing.
A. Durer. Self-portrait with a flower. Oil. 1943
And we especially appreciate Dürer for the fact that in art and life he was faithful to humanistic ideals.
He was born in 1471 in the city of Nuremberg, which was one of the most advanced cities. Dürer's father was a simple worker and wanted to teach his son the same craft, but the boy was drawn to painting, and only to it. Dürer had to serve his master, the painter, run for him for refreshments, sweep the floors in the studio; to endure the harassment of senior apprentices.
He left his portrait of this time at the age of 13. It is executed with a silver pin on paper coated with a special primer. A somewhat timid drawing is quite artistically successful. The boy on it is attentive and serious.
Dürer learned to grind paints, prime paper for drawing, make brushes, and watched the master work. Free time spent on copying works of art that caught his eye. Dürer himself clearly understood all the shortcomings of such art education. Being already famous artist, he began to compile the "Study Guide for Boys Studying Painting", one of the first in the history of art.
Dürer became a painter, and not a bad one. Nineteen years old, having completed a long study in the workshop of Wolgemut, he sets off on an "apprentice's journey." This custom was then widespread throughout Europe. Moving from city to city, working in one or another workshop, the young artisan mastered a variety of techniques, learned the art of different countries and in different individuals. Dürer worked in Switzerland, in Alsace, and in 1495 he visited Italy.
A. Durer. Melancholy. Fragment. Copper engraving. 1514.
He draws incessantly. Pen, pencil, charcoal. His attention is attracted by everything that can then be transferred to engravings. Most willingly and most of all, he draws a person. Soldiers, landsknecht mercenaries who moved from country to country, offering their services for an inexpensive fee; faces of contemporaries, ordinary and noble people. In 1493, returning from his travels, he made a picturesque self-portrait: Dürer has an attentive look, a serious expression on his face, and in his hand a flower, perhaps having some meaning.
Of course, much in Dürer's early art is still imperfect. But he passionately seeks to know if there are any rules that allow you to achieve truth and beauty in the art of reproduction.
The first large series of engravings by Durer - "Apocalypse". They are permeated with feelings of uncontrollable anger, passion and pathos of struggle. The images of this series are in tune with the moods of the restless, contradictory era in which the artist lived.
Durer performs engravings and simpler ones. He draws the "prodigal son" - a laborer feeding pigs in the yard of a prosperous farm, types of townspeople and figures of peasants. In his work, Dürer is revealed as a master, gradually mastering the ability to convey the real world as it is. The strokes in his engravings and in many surviving drawings become definite, bold, strong. In portraits, he captures the images of his friends, citizens of Nuremberg, famous scientists of that time, with bright, somewhat harsh colors.
A. Durer. Saint Jerome in the cell. Copper engraving. 1514.
Dürer is working hard on his artistic and scientific education. His life is spent in hard work. He creates unusually meticulous watercolor drawings depicting animals and plants. A small bunny with its ears flattened, a bush of grass, a bouquet of violets, a bird's wing are conveyed with a perfection that is hard to beat.
In 1506-1507, business or, perhaps, a thirst for self-improvement takes him on a new journey, again to Italy. Dürer lives in Venice, where he first felt himself a free man full of dignity. He gets to know outstanding masters Italy. The old Venetian painter Giovanni Bellini visits Dürer in his studio. There is a story about this.
From Venice, Dürer returned to his homeland enriched by many things. His painting became juicier, softer, more colorful. In drawings and engravings, Dürer depicts the surrounding reality even more truly and truthfully, the people of his time - their character, costumes, occupations. With a special interest in the psychological expression of the senile face, Dürer painted a portrait of his mother in charcoal.
A. Durer. Hare. Watercolor, gouache. 1502.
Dürer is one of the few philosopher artists. In his art, deep realistic truth and fantastic fiction, suggested to the artist by the worldview of his era, coexist strangely. He often uses complex allegories and parables, and right next to him, in other drawings, he somewhat jokingly shows the dance of the peasants. Carefully draws the interior of a sunlit room where Jerome, the legendary saint, works quietly, philosopher writer, who was said to have tamed a lion.
In constant work, artistic and scientific, Dürer's life passes. The cause of his people was always and his own business. Shown by Durer in the "Four Apostles" images ordinary people, fighters for the truth, are embodied by the artist strictly and strongly.
The image of a scientist and writer, humanist and thinker is captured in one of the most recent works- in a copper-engraved portrait of the famous figure of his era, Erasmus of Rotterdam.
He is writing, with a pen in one hand, an inkwell in the other, in simple home clothes. On the foreground engravings Dürer skillfully depicted books and did not forget to put a vase with flowers on the scientist's table.
Durer (Durer) Albrecht (1471-1528), German painter, draftsman, engraver, art theorist. The founder of the art of the German Renaissance, Dürer studied jewelry with his father, a native of Hungary, painting - in the workshop of the Nuremberg artist M. Wolgemut (1486-1489), from whom he adopted the principles of the Dutch and German late Gothic art, got acquainted with the drawings and engravings of the masters of the early Italian Renaissance(including A. Mantegni). In the same years, Dürer experienced a strong influence of M. Schongauer. In 1490-1494, during the journeys along the Rhine, which were obligatory for a guild apprentice, Dürer made several easel engravings in the spirit of late Gothic, illustrations for S. Brant’s “Ship of Fools” and others. Italy (1494-1495), manifested itself in the artist's desire to master scientific methods knowledge of the world, to an in-depth study of nature, in which his attention was attracted by both the most seemingly insignificant phenomena (“Grass Bush”, 1503, Albertina collection, Vienna), and complex problems of the connection in nature of color and light and air environment (“House at pond”, watercolor, circa 1495-1497, British Museum, London). Dürer asserted a new Renaissance understanding of personality in portraits of this period (self-portrait, 1498, Prado).
"Feast of All Saints"
(Altar Landauer) 1511,
Kunsthistorisches Museum, Vienna
"Christ Among the Scribes" Thyssen-Bornemitz Collection, 1506, Madrid
"Adam and Eve" 1507, Prado, Madrid (most beautiful image Adam and Eve!!)
"Self-portrait" 1493
"Self-portrait" 1500
"Madonna with a Pear" 1512, Kunsthistorisches Museum, Vienna
"Praying Mary"
The mood of the pre-reformation era, the eve of powerful social and religious battles, Dürer expressed in a series of woodcuts “Apocalypse” (1498), in the artistic language of which the techniques of German late Gothic and Italian Renaissance art organically merged. The second trip to Italy (1505-1507) further strengthened Dürer’s desire for clarity of images, orderliness of compositional constructions (“The Feast of the Rosary”, 1506, National Gallery, Prague; “Portrait of a Young Woman”, Museum of Art, Vienna), a careful study of the proportions of the naked human body(“Adam and Eve”, 1507, Prado, Madrid). At the same time, Dürer did not lose (especially in graphics) the vigilance of observation, subjective expressiveness, vitality and expressiveness of images characteristic of late Gothic art (cycles of woodcuts “Great Passions”, about 1497-1511, “Life of Mary”, about 1502-1511, "Small Passions", 1509-1511). The amazing accuracy of the graphic language, the finest development of light-air relations, the clarity of line and volume, the most complex philosophical underlying basis of the content distinguish three “masterful engravings” on copper: “The Horseman, Death and the Devil” (1513) - an image of unshakable adherence to duty, steadfastness in the face of the trials of fate; as the embodiment of the inner conflict of the restless creative spirit of man; "Saint Jerome" (1514) - the glorification of humanistic inquisitive research thought.
“Melancholy I” (1514)
"Knight, Death and the Devil" 1513
"Four Horsemen of the Apocalypse"
"Feast of the Rosary" 1506, National Gallery, Prague
"Saint Jerome" 1521
By this time, Dürer had won an honorary position in his native Nuremberg, gained fame abroad, especially in Italy and the Netherlands (where he traveled in 1520-1521). Dürer was friends with the most prominent humanists in Europe. Among his customers were wealthy burghers, German princes and Emperor Maximilian I himself, for whom, among other major German artists, he made pen drawings for a prayer book (1515).
In a series of portraits of the 1520s (J. Muffel, 1526, I. Holtschuer, 1526, both in art gallery, Berlin-Dahlem, etc.) Dürer recreated the type of a man of the Renaissance, imbued with a proud consciousness of the self-worth of his own personality, charged with intense spiritual energy and practical purposefulness. An interesting self-portrait of Albrecht Dürer at the age of 26 in gloves. The hands of the model lying on the pedestal are a well-known technique for creating the illusion of closeness between the person being portrayed and the viewer. Dürer may have learned this visual trick from works such as Leonard's Mona Lisa, which he saw while traveling in Italy. The landscape that is visible through the open window is a feature characteristic of northern artists such as Jan Van Eyck and Robert Campin. Dürer revolutionized Northern European art by combining the experience of the Netherlands and Italian painting. The versatility of aspirations was also manifested in Dürer's theoretical works (“A Guide to Measurement ...”, 1525; “Four Books on Human Proportions”, 1528). Durer's artistic quest was completed by the painting "Four Apostles" (1526, Alte Pinakothek, Munich), which embodies the four temperaments of people connected by a common humanistic ideal of independent thought, willpower, stamina in the struggle for justice and truth.
Ecce Homo (Son of man)
Around 1495, Kunsthalle, Karlsruhe
"Four Apostles"
"Portrait of Father Dürer at 70" 1497
"Adoration of the Magi" 1504
"Emperor Maximilian I" 1519
"Altar of Paumgartner" 1500-1504
"Seven Sorrows of the Maiden" 1497
"Emperors Charles and Sigismund" 1512
"Portrait of a Young Man" ca. 1504
"Portrait of a young Venetian" 1505
"Mary with the Child and Saint Anna" 1519
"Portrait of a woman" 1506
"Portrait of Hieronymus Holtzschuer" 1526
Altar of Yabach, outer side of the left wing "Job suffering humiliation from his wife" Around 1500-1503
"Portrait of an unknown man in a red robe" (St. Sebastian) Around 1499
"Portrait of Oswald Krell" 1499
"Alliance Coat of Arms of the Dure and Holpe Families" 1490
"Portrait of Felicitas Tuher" Diptych, Right side 1499
"Portrait of Hans Tucher" Diptych, left side 1499
"Lamentation of Christ"
"Portrait of a man on a green background" 1497
"Portrait of Michael Wolgemuth" 1516
"Apostle Philip" 1516
"Madonna with an Apple" 1526
"Bush of grass" 1503
"Mary with the baby in front of the gate arch" 1494-97
"Portrait of Frederick the Wise, Elector of Saxony"
"Two Musicians"
"Penitent St. Jerome"
"Madonna with a Goldfinch"
"Portrait of Barbara Durer, nee Holper" 1490-93
"Portrait of Albrecht Dürer" the artist's father 1490-93
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