Durer was born on May 21, 1471 in Nuremberg, the son of a jeweler who came to this German city from Hungary in the middle of the 15th century. The family had 8 children, of which the future artist was the third child and the second son. Father, Alberecht Durer - Sr., was a goldsmith, his Hungarian surname Aitoshi, he literally translated into German as Türer; she subsequently began recording as Dürer. Barbara Durer. Albrecht Durer Sr.
At first, the father tried to captivate his son with jewelry, but discovered his son's talent as an artist. At the age of 15, Albrecht was sent to study at the studio of the leading Nuremberg artist of the time, Michael Wolgemuth. There Dürer mastered not only painting, but also engraving on wood and copper. His studies in 1490, according to tradition, ended with a journey for four years, the young man traveled to a number of cities in Germany, Switzerland and the Netherlands, continuing to improve in the visual arts and processing of materials.
In 1494, Dürer returned to Nuremberg, soon after which he married. Then in the same year he made a trip to Italy, where he got acquainted with the work of Mantegna, Polaiolo, Lorenzo di Credi and other masters. In 1495, Dürer returned to his hometown and over the next ten years created a significant part of his engravings, which have now become famous. Agnes Durer. Pen drawing. 1494
In 1520, the artist took a trip to the Netherlands, where he became a victim of an unknown disease, which then tormented him until the end of his life. In the last years of his life, Albrecht Durer pays much attention to the improvement of defensive fortifications, which was caused by the development of firearms. In his work "Guide to the fortification of cities, castles and gorges", published in 1527, Durer describes, in particular, a fundamentally new type of fortifications, which he called the bastea.
About creativity Dürer compiled the first in Europe so-called magic square, depicted in his engraving "Melancholy". Dürer's merit lies in the fact that he was able to inscribe numbers from 1 to 16 in the drawn square so that the sum of 34 was obtained not only when adding numbers vertically, horizontally and diagonally, but also in all four quarters, in the central quadrilateral and even when adding four corner cells. Dürer also managed to conclude in the table the year of the creation of the engraving "Melancholy" (1514).
Dürer's Magic Square remains a complex enigma. If we consider the middle squares of the first vertical, it is striking that the numbers have been changed in them: 6 is corrected to 5, and 9 is obtained from 5. Undoubtedly, Dürer did not accidentally enrich his “magic square” with such details that cannot be overlooked.
Star and geographical maps of Dürer In 1515, Dürer made three famous woodcuts, depicting maps of the southern and northern hemispheres of the starry sky and the eastern hemisphere of the Earth. These works of art are at the same time the most valuable monuments of science. The engraving work was carried out in collaboration with prominent German scientists Johann Stabij (initiator of the project) and Konrad Heinfogel.
In the geographic map of Stabia - Heinfogel - Durer, to convey the sphericity of the Earth, a perspective projection was applied from a point of view located outside the globe at a distance of three times the diameter, from which points on the earth's surface are projected onto the plane of the drawing. Dürer was already interested in the development of design methods as an artist. The map is, moreover, an undoubted example of the art of engraving. Along the edges of the map are masterful images of several winds blowing on Earth. Dürer's geographical map, also made in collaboration with I. Stabius and K. Heinfogel, depicts the "Old World" Europe, Asia and Africa, that is, the same areas that were mapped by Ptolemy. Dürer himself also took part in the long-term preparation of the publication of Ptolemy's Geography in Latin, which was conducted by W. Pirkheimer. Despite its traditional features, the map contains many new features reflecting the level of development of geographical knowledge during the Renaissance.
Dürer was the first German artist to work simultaneously in both types of woodcut and copper engraving. He achieved extraordinary expressiveness in woodcut, reforming the traditional manner of work and using the methods of work that had developed in metal engraving. In years. Dürer created three graphic sheets that went down in the history of art under the title "Workshops of engravings": "The Knight, Death and the Devil", "Saint Jerome in the Cell" and "Melancholy".
About 970 drawings by Durer have survived: landscapes, portraits, sketches of people, animals and plants. Dürer tirelessly practiced arrangement, generalization of particulars, construction of space. Dürer's graphic heritage is distinguished by high skill of execution, observation, and loyalty to nature. He used his studies in prints and paintings, and repeatedly repeated the motives of graphic works in major works. Hare, 1502
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Slide 1
Albrecht Durer
Durer Albrecht (1471-1528), German painter, draftsman, engraver, art theorist. The founder of the art of the German Renaissance.
Slide 2
Dürer studied jewelry with his father, a native of Hungary, painting - in the studio of the Nuremberg artist M. Wolgemut (1486-1489), from whom he adopted the principles of Dutch and German late Gothic art, got acquainted with drawings and engravings by masters of the early Italian Renaissance (including A. Mantegna). During these years, Dürer was strongly influenced by M. Schongauer. In 1490-1494, during the wanderings on the Rhine that were obligatory for the guild's apprentice, Dürer made several easel engravings in the spirit of late Gothic, illustrations for “Ship of Fools” by S. Brant and others. The impact on Dürer of humanistic teachings, which intensified as a result of his first trip to Italy (1494-1495), manifested itself in the artist's desire to master the scientific methods of understanding the world, to an in-depth study of nature, in which his attention was attracted as the most seemingly insignificant phenomena ("Bush of Grass", 1503, collection of Albertine, Vienna), and complex problems of communication in the nature of color and light-air environment (“House by the Pond”, watercolor, circa 1495–1497, British Museum, London).
Biography
Slide 3
Durer was equally gifted as a painter, printmaker and draftsman; drawing and engraving occupy a large, sometimes even leading, place for him. The legacy of Dürer the draftsman, numbering more than 900 sheets, in terms of its vastness and diversity, can only be compared with the legacy of Leonardo da Vinci. Drawing was, apparently, a part of the master's everyday life. He brilliantly mastered all the graphic techniques known then - from a silver pin and a reed pen to an Italian pencil, charcoal, and watercolor. As for the masters of Italy, drawing became for him the most important stage of work on the composition, which includes sketches, studies of heads, arms, legs, draperies. This is a tool for studying characteristic types - peasants, smart gentlemen, Nuremberg fashionistas. His famous watercolors A Piece of Turf and The Hare (Albertina, Vienna) are executed with such intentness and coldish detachment that they could illustrate scientific codes.
Slide 4
Dürer asserted a new Renaissance understanding of personality in portraits of this period (self-portrait, 1498, Prado). 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 striving for clarity of images, orderly 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 nude human body ("Adam and Eve", 1507, Prado, Madrid). At the same time, Dürer did not lose (especially in graphics) the vigilance of observation, object expressiveness, vitality and expressiveness of images inherent in the art of late Gothic (cycles of woodcuts on wood "Great Passion", about 1497-1511, "Life of Mary", about 1502-1511, "Small Passions", 1509-1511). The amazing precision of the graphic language, the finest elaboration of light-air relations, the clarity of line and volume, the most complex philosophical basis of the content are distinguished by three “masterful engravings” on copper: “The Horseman, Death and the Devil” (1513)
Slide 5
Painting 1494-1514
Dürer's first significant work is a series of landscapes (watercolor with gouache, 1494-95), made during a trip to Italy. These thoughtful, carefully balanced compositions with smoothly alternating spatial plans are the first "clean" landscapes in the history of European art. An even, clear mood, striving for a harmonious balance of forms and rhythms determine the character of Dürer's paintings of the late 15th century. - the beginning of the 2nd decade 16 in One of the main themes of Dürer's work in the 1500s. the search for ideal proportions of the human body becomes, the secrets of which he is looking for, drawing nude male and female figures (Dürer was the first in Germany who turned to the study of nudity), summarizing them in the copper engraving Adam and Eve (1504) and the large pictorial diptych of the same name ( c. 1507, Prado). By the years of creative maturity, Dürer includes his most complex, harmoniously ordered multi-figured pictorial compositions - made for one of the Venetian churches "Feast of the Rosary" (1506, National Gallery, Prague) and "Adoration of St. Trinity "(1511, Museum of Art History, Vienna). "The Feast of the Rosary" (more precisely - "The Feast of Rose Wreaths") is one of the largest (161.5x192 cm) and the most intoning paintings by Durer; it is closest to Italian art not only in motives, but also in vitality, full-bloodedness of images (mostly portrait), full-bodied colors, breadth of writing, balance of composition.
Slide 6
Portraits and self-portraits
The most important place in the picturesque heritage of Dürer is the portrait. Already in an early portrait of Oswald Krel (c. 1499, Alte Pinakothek, Munich), Dürer appears as an established master, brilliantly conveying the originality of character, the inner energy of the model. Dürer's uniqueness lies in the fact that the leading place among his early portraits is occupied by a self-portrait. The thirst for self-knowledge, which led the hand of a 13-year-old boy (Self-portrait, 1484, drawing with a silver pin, Albertine, Vienna) is further developed in the first three pictorial self-portraits ( 1493, Louvre; 1498, Prado; 1500, Alte Pinakothek, Munich), and in the last of them the master is depicted strictly in front, and his regular face, framed by long hair and a small beard, recalls the images of Christ Pantokrator.
Slide 7
Dürer worked equally well in the field of woodcut (woodcut) and in the field of engraving on copper. Following Schongauer, he turned engraving into one of the leading art forms. His engravings expressed the restless, restless spirit of his creative nature, which excited his dramatic moral collisions. His first large graphic series - 15 woodcuts on the themes of the apocalypse (1498) - became a sharp contrast to his early, calm and clear paintings. In his engravings, Dürer, to a much greater extent than in his paintings, relies on purely German traditions, manifested in the excessive expression of images, the tension of sharp, angular movements, the rhythm of breaking folds, rapid, swirling lines.
Slide 8
Merits of Dürer
Dürer revolutionized Northern European art by combining the experience of Dutch and Italian painting. The versatility of aspirations was also manifested in the theoretical works of Dürer ("Guide to Measurement ...", 1525; "Four Books on Human Proportions", 1528). Dürer's artistic quest was completed by the painting The Four Apostles (1526, Alte Pinakothek, Munich), which embodies the four character-temperaments of people bound by a common humanistic ideal of independent thought, willpower, and perseverance in the struggle for justice and truth.
Slide 9
Dürer compiled the first so-called magic square in Europe, depicted in his engraving “Melancholy.” Dürer's merit lies in the fact that he was able to inscribe numbers from 1 to 16 in the drawn square in such a way that the sum of 34 was obtained not only by adding numbers vertically, horizontals and diagonals, but also in all four quarters, in the central quadrangle and even when adding four corner cells. Durer also managed to conclude in the table the year of the creation of the engraving "Melancholy" (1514)
Slide 10
Slide 12
Albrecht Durer (1471-1528) Completed by: Krapivina Lyudmila Pavlovna MKOU DOD AGO "Achitskaya DSHI"
explore the creative path of the artist; - on the basis of historical documents, sources, scientific literature, to establish what role the work of Dürer played in the development of the German Renaissance. To get acquainted with the heritage of the great engraver, painter, draftsman Albrecht Durer. Purpose: Objectives:
Art played an extremely important role in the culture of the Renaissance in Germany. Late 15th - early 16th century became a period of a short-lived, but brilliant flourishing of German Renaissance painting and graphics, which, to a much greater extent than in Italy, retained a connection with the traditions of the Gothic, but gave artistic achievements of world significance.
The central place in the art of this time belonged to the work of Albrecht Durer (1471-1528). Dürer had a universal talent: a versatile painter, a graphic artist who became the greatest master of engraving in Europe, he was also a scientist dealing with the problems of linear perspective and proportioning of the human body, an art theorist who persistently strove to comprehend the laws of beauty.
Durer was born on May 21, 1471 in Nuremberg. His artistic talent, business qualities and worldview were formed under the influence of three people who played the most important role in his life: his father, a Hungarian jeweler; godfather Koberger, who left jewelry art and took up publishing; and Dürer's closest friend, Wilibald Pirkheimer, an outstanding humanist who introduced the young artist to new Renaissance ideas and works of Italian masters.
“Saint Jerome in his Cell” The engraving “Saint Jerome in his Cell” reveals the ideal of a humanist who has dedicated himself to comprehending higher truths. In solving the theme, in the everyday interpretation of the scientist's image, the leading role is played by the interior, transformed by the artist into an emotional poetic environment. The figure of Jerome, immersed in translations of sacred books, is the focus of compositional lines that subdue many everyday interior details, protecting the scientist from the excitement and bustle of the world.
Emperor Maximilian I In the portrait of the imperious, proud and arrogant Emperor Maximilian I (1519; Vienna), Dürer sums up the results of many years of study of the human personality. However, in the portraits of this time, all of Durer's characters especially retain their unchanging character.
Self-portrait, 1500 Durer painted a large number of self-portraits. However, this one is the most famous. Why? In this portrait, Durer depicted himself from the front without any accompanying interior items. In terms of artistic craftsmanship, this painting is of amazing beauty and quality. Restraint and inner discipline come through in a tense, deeply agitated and emotional image.
The idea of \u200b\u200b"Melancholy" has not yet been revealed, but the image of a mighty winged woman impresses with its significance and psychological depth. Woven from a multitude of semantic shades, complex symbols and hints, it awakens disturbing thoughts, associations, experiences. Melancholy is the embodiment of a supreme being.
The basis of the engraving "Knight, Death and the Devil" was the image of a staunch warrior from the ethical and theological treatise of Erasmus of Rotterdam "Instructions to the Christian Warrior", but Durer gave it his own interpretation. Contemporaries perceived this image as a symbol of energy, active human life.
In another "workshop engraving" by Durer - "St. Jerome in his cell "- the scientist was depicted, immersed in his work in an atmosphere of calm and quiet, slowly flowing time. Here Dürer embodied the ideal of a different type of life, which humanists called contemplative, associated with the creative principle and which was also highly appreciated. Saint Jerome in his cell
This work carries in itself a complex interweaving of medieval views with religious traditions, as well as experiences caused by the turbulent social events of those days. Allegoricality, symbolism of images, confusion of complex theological concepts, mystical fantasy are preserved from the Middle Ages; from the images of ancient religiosity - a clash of spiritual and material forces, a feeling of tension, struggle, confusion and humility. Prodigal son
The Battle of the Archangel Michael with the Dragon In the engraving "Battle of the Archangel Michael with the Dragon", the pathos of a fierce battle is emphasized by the contrasts of light and shadow, by the restlessly intermittent rhythm of lines. In the heroic image of a young man with an inspired and decisive face, in a landscape illuminated by the sun with its boundless expanses, faith in the victory of the bright principle is expressed.
Opening of the Fifth and Sixth Seals The highest creative achievement of Dürer at the end of the 15th century was a series of woodcuts and sixteen sheets (including the title page, different for different editions) on the theme of the Apocalypse, popular among the population of medieval Germany. These engravings, covered with a whimsical winding ornament of lines, permeated with a hot temperament, captivate with vivid imagery and power of fantasy. They are also extremely significant in their skill. The engraving is raised in this cycle to the level of a large, monumental art.
The Appearance of Christ and the Essence of the Seven Churches to John Durer introduced images of representatives of different classes of German society, living real people, full of passionate and anxious experiences and active action, into allegorical scenes.
The surname Dürer comes from the Hungarian Aitosi (Hungarian Ajtósi). The picture of an open door on a shield is a literal translation of the word which means "door" in Hungarian. Eagle's wings and the black skin of a man are symbols often found in southern German heraldry; they were also used by the Nuremberg family of Dürer's mother, Barbara Holper. Dürer was the first artist to create and use his coat of arms and the famous monogram (capital letter A and inscribed D. Coat of arms of Albrecht Dürer, 1523
Albrecht Dürer pays much attention to the improvement of defensive fortifications, which was caused by the development of firearms, as a result of which many medieval structures became ineffective. In his work "Guide to the fortification of cities, castles and gorges", published in 1527, Durer describes, in particular, a fundamentally new type of fortifications, which he called the bastea. The creation of a new theory of fortification, according to Dürer himself, was due to his concern for protecting the population "from violence and unjust oppression." According to Dürer, the construction of fortifications will give work to the disadvantaged and save them from hunger and poverty. At the same time, he noted that the main thing in defense is the resilience of the defenders.
At the end of his life, Dürer worked a lot as a painter, during this period he created the most profound works in which an acquaintance with Dutch art is manifested. One of the most important paintings of recent years is the diptych "Four Apostles", which the artist presented to the city council in 1526 ..
In the Netherlands, Dürer fell victim to an unknown disease (possibly malaria), from attacks of which he suffered for the rest of his life. The symptoms of the disease - including a severe enlargement of the spleen - he wrote in a letter to his doctor. Dürer drew himself pointing to the spleen, in the explanation to the drawing he wrote: "Where there is a yellow spot and what I point with my finger, I have a pain there." Until his last days, Dürer was preparing his theoretical treatise on proportions for publication. Albrecht Durer died on April 6, 1528 in his homeland in Nuremberg.
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