Dürer, Albrecht Timeline: Northern Renaissance I hold that the perfection of form and beauty is contained in the sum of all men. -- Dürer, Four Books on Human Proportions, 1528 Dürer, Albrecht (b. May 21, 1471, Imperial Free City of Nürnberg [Germany]--d. Born in Nürnberg as the third son of the Hungarian goldsmith Albrecht Dürer. During 1513 and 1514 Dürer created the greatest of his copperplate engravings: the Knight, St. The Seven Sorrows of the Virgin c. 1496-97 (200 kB); Oil on panel, Central panel 109 x 43 cm; Alte Pinakothek, Munich; Side panels 63 x 46 cm; Gemaldegalerie Alte Meister, Dresden St. The Paumgartner Altarpiece c. 1498-1504 (150 kB); Oil on panel, Central panel 155 x 126 cm; Side panels 157 x 61 cm; Alte Pinakothek, Munich A Young Hare 1502 (140 kB); Watercolor and gouache on paper, 25 x 23 cm; Graphische Sammlung Albertina, Vienna The Large Turf 1503 (180 kB); Watercolor and gouache on paper, 41 x 32 cm; Graphische Sammlung Albertina, Vienna La Fete du rosaire (1506).
Les origines de l'estampe ...- Musée du Louvre - nov.2013 - Voir-ou-revoir Dans mon article précédent, j'ai présenté de nombreuses xylographies réalisées par Félix Vallotton autour des années 1900. La passionnante exposition du Louvre, Les origines de l'estampe en Europe du Nord 1400-1470, nous ramène ainsi cinq siècles auparavant et nous présente les techniques alors utilisées, la xylographie, le burin et celle plus méconnue du criblé. Les historiens s'accordent en effet, aujourd'hui, sur le fait que le pôle de développement et d'expérimentation de l'estampe se situe dans les pays germaniques entre 1400 et 1430. Il faut se rappeler néanmoins que l'estampe s'est aussi développée au XVe en France en Italie et dans les Flandres. Premières xylographies Elles sont peu nombreuses, estimées pour la période de 1400 à 1440 à environ 70 estampes. Le bois Protat C'est la première xylographie connue. Le bois Protat est une des merveilles de cette exposition Impression du bois Protat Une autre pièce déterminante des débuts de la gravure sur bois : Gravure au criblé
Albrecht Dürer Dürer's introduction of classical motifs into Northern art, through his knowledge of Italian artists and German humanists, has secured his reputation as one of the most important figures of the Northern Renaissance. This is reinforced by his theoretical treatises, which involve principles of mathematics, perspective and ideal proportions. Early life (1471–90)[edit] Dürer's godfather was Anton Koberger, who left goldsmithing to become a printer and publisher in the year of Dürer's birth and quickly became the most successful publisher in Germany, eventually owning twenty-four printing-presses and having many offices in Germany and abroad. Koberger's most famous publication was the Nuremberg Chronicle, published in 1493 in German and Latin editions. Because Dürer left autobiographical writings and became very famous by his mid-twenties, his life is well documented by several sources. Wanderjahre and marriage (1490–94)[edit] First journey to Italy (1494–95)[edit] Self-portrait, 1508
Dürer's Magic Square Dürer's magic square is a magic square with magic constant 34 used in an engraving entitled Melancholia I by Albrecht Dürer (The British Museum, Burton 1989, Gellert et al. 1989). The engraving shows a disorganized jumble of scientific equipment lying unused while an intellectual sits absorbed in thought. Dürer's magic square is located in the upper right-hand corner of the engraving. The numbers 15 and 14 appear in the middle of the bottom row, indicating the date of the engraving, 1514. Dürer's magic square has the additional property that the sums in any of the four quadrants, as well as the sum of the middle four numbers, are all 34 (Hunter and Madachy 1975, p. 24).
Le “Bois Protat”, le plus ancien bois gravé connu dans le monde occidental - 10 ans et après Actualités / News, Collections, La BnF Détail du Bois Protat - BNF, Estampes et photographie Le bois sur lequel a été gravé ce motif est une pièce exceptionnelle, d’une extrême rareté. Le motif gravé dans le bois montre la partie droite d’une Crucifixion, où sont figurés trois personnages debout : un centurion et deux soldats romains. Estampe imprimée à partir du Bois Protat Le Bois Protat, plus ancien bois gravé connu - BNF Odile Faliu (BnF) Pour en savoir plus : Trésors en dations à la BnF - 1968-2008 BnF, site F. Adresse du rétrolien (trackback) pour ce billet :
Cyflwyniad AA4 Dürer's Rhinoceros The rhinoceros[edit] The first known print of the rhinoceros is a rather primitive woodcut which illustrates a poem by Giovanni Giacomo Penni published in Rome in July 1515. (Biblioteca Colombina, Seville). On 20 May 1515, an Indian rhinoceros arrived in Lisbon from the Far East. After a relatively fast voyage of 120 days, the rhinoceros was finally unloaded in Portugal, near the site where the Manueline Belém Tower was under construction. The animal was examined by scholars and the curious, and letters describing the fantastic creature were sent to correspondents throughout Europe. It was housed in King Manuel's menagerie at the Ribeira Palace in Lisbon, separate from his elephants and other large beasts at the Estaus Palace. Dürer's woodcut[edit] Pen and ink drawing of the rhinoceros, by Albrecht Dürer, 1515, now in the British Museum. 5218.161 The manuscript caption gives the date of the arrival of the rhinoceros in Lisbon as "1513" [sic].[20]
Gwneud Creadigol AA2 File:Durer lions (sketch).jpg Cyd-Destunol AA1 File:Albrecht Dürer - Melencolia I (detail).jpg