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24 nov 2022 · Renaissance Printmaking: How Albrecht Dürer Changed the Game. In the early sixteenth century, printmaking in Europe saw a radical change due to the innovation of the genius artist Albrecht Dürer. Here's how he revolutionized the medium. Nov 24, 2022 • By Eve Cobb, BA (Hons) History of Art (in progress)
- Overview
- Education and early career
- First journey to Italy
Albrecht Dürer was a painter, printmaker, and writer generally regarded as the greatest German Renaissance artist. His paintings and engravings show the Northern interest in detail and Renaissance efforts to represent the bodies of humans and animals accurately. Dürer was also keenly aware of self-branding, apparent in his distinct signature.
What is Albrecht Dürer known for?
Albrecht Dürer’s vast body of work includes religious pieces, portraits, and prints. Famous paintings include a self-portrait from 1500 and the so-called Four Apostles (1526). He was also known for his woodcuts and copper engravings, notably The Apocalypse series (1498), Adam and Eve (1504), Saint Jerome in His Study (1514), and The Rhinoceros (1515).
What was Albrecht Dürer’s family like?
Albrecht Dürer was the second of 18 children of the goldsmith Albrecht Dürer the Elder and of Barbara Holper. Two of his younger brothers also gained some recognition: Hans as an artist and Andreas as a goldsmith. Albrecht later married Agnes Frey, the daughter of a merchant, in 1494, but the marriage was childless.
How was Albrecht Dürer educated?
Dürer was the second son of the goldsmith Albrecht Dürer the Elder, who had left Hungary to settle in Nürnberg in 1455, and of Barbara Holper, who had been born there. Dürer began his training as a draughtsman in the goldsmith’s workshop of his father. His precocious skill is evidenced by a remarkable self-portrait done in 1484, when he was 13 years old, and by a Madonna with Musical Angels, done in 1485, which is already a finished work of art in the late Gothic style. In 1486 Dürer’s father arranged for his apprenticeship to the painter and woodcut illustrator Michael Wohlgemuth, whose portrait Dürer would paint in 1516. After three years in Wohlgemuth’s workshop, he left for a period of travel. In 1490 Dürer completed his earliest known painting, a portrait of his father that heralds the familiar characteristic style of the mature master.
Dürer’s years as a journeyman probably took the young artist to the Netherlands, to Alsace, and to Basel, Switzerland, where he completed his first authenticated woodcut, St. Jerome Curing the Lion. During 1493 or 1494 Dürer was in Strasbourg for a short time, returning again to Basel to design several book illustrations. An early masterpiece from this period is a self-portrait with a thistle painted on parchment in 1493.
At the end of May 1494, Dürer returned to Nürnberg, where he soon married Agnes Frey, the daughter of a merchant. In the autumn of 1494 Dürer seems to have undertaken his first journey to Italy, where he remained until the spring of 1495. A number of bold landscape watercolours dealing with subjects from the Alps of the southern Tirol were made on this journey and are among Dürer’s most beautiful creations. Depicting segments of landscape scenery cleverly chosen for their compositional values, they are painted with broad strokes, in places roughly sketched in, with an amazing harmonization of detail. Dürer used predominantly unmixed, cool, sombre colours, which, despite his failure to contrast light and dark adequately, still suggest depth and atmosphere.
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The trip to Italy had a strong effect on Dürer; direct and indirect echoes of Italian art are apparent in most of his drawings, paintings, and graphics of the following decade. While in Venice and perhaps also before he went to Italy, Dürer saw engravings by masters from central Italy. He was most influenced by the Florentine Antonio Pollaiuolo, with his sinuous, energetic line studies of the human body in motion, and by the Venetian Andrea Mantegna, an artist greatly preoccupied with classical themes and with precise linear articulation of the human figure.
Dürer’s secular, allegorical, and frequently self-enamoured paintings of this period are often either adaptations of Italian models or entirely independent creations that breathe the free spirit of the new age of the Renaissance. Dürer adapted the figure of Hercules from Pollaiuolo’s The Rape of Deianira for his painting Hercules and the Birds of Stymphalis. A purely mythological painting in the Renaissance tradition, Hercules is exceptional among Dürer’s works. The centre panel from the Dresden Altarpiece, which Dürer painted in about 1498, is stylistically similar to Hercules and betrays influences of Mantegna. In most of Dürer’s free adaptations the additional influence of the more lyrical, older painter Giovanni Bellini, with whom Dürer had become acquainted in Venice, can be seen.
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Dürer has never fallen from critical favour, and there have been significant revivals of interest in his works in Germany in the Dürer Renaissance of about 1570 to 1630, in the early nineteenth century, and in German nationalism from 1870 to 1945.
- 6 April 1528 (aged 56), Nuremberg, Holy Roman Empire
- German
- Adalbert Ajtósi, Albrecht Durer, Albrecht Duerer
A supremely gifted and versatile German artist of the Renaissance period, Albrecht Dürer (1471–1528) was born in the Franconian city of Nuremberg, one of the strongest artistic and commercial centers in Europe during the fifteenth and sixteenth centuries.
Albrecht Dürer ( AFI: [ˈʔalbʁɛçt ˈdyːʁɐ] ), in italiano arcaico noto anche come Alberto Duro [1] [2] o Durero [3] [4], ( Norimberga, 21 maggio 1471 – Norimberga, 6 aprile 1528) è stato un pittore, incisore, matematico e trattatista tedesco .
14 ott 2020 · Albrecht Dürer (1471-1528 CE) was a German Renaissance artist who is considered one of the greatest painters and engravers in history. A native of Nuremberg, Dürer was famous in his own lifetime at home and abroad for his oil paintings, altarpieces, drawings, and engraved prints, as well as for his numerous treatises on art theory.
They informed Dürer about the intellectual studies of the Italian Renaissance and advised on subjects for his art. He later published his ideas on art theory. His woodcuts inspired the Holy Roman Emperor, Maximilian I to use the medium for colossal commemorative projects, in which Dürer played a leading part.
