Albrecht Durerb.May 21, 1471, Imperial Free City of N??rnberg [Germany] d.April 6, 1528, N??rnberg | |||
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The Deformed Landser Sow ID de tableau:: 63569 Voir la galerie dans Suède |
The Deformed Landser Sow 1496 Engraving, 121 x 126 mm Staatliche Kunsthalle, Karlsruhe A deformed pig is standing on a rise above a river landscape. Its body is divided towards the back. Two front legs are sticking up out of its back. The Engraving was preceded by a leaflet by Sebastian Brant, which spread the news of the birth of a two bodied, eight legged, four eared and two tongued pig in Landser. Deformed animals such as these were interpreted as divine signs by the population, referring to the end of the world which was expected to take place in about 1500. In the course of the impending Turkish invasion, the leaflet and Engraving have also been interpreted as heralding the imminent supremacy of the heathens over the Christians, or more generally the rule of the Antichrist.Artist:D?RER, Albrecht Title: The Deformed Landser Sow Painted in 1501-1550 , German - - graphics : other 1496_Engraving,_121_x_126_mm_Staatliche_Kunsthalle,_Karlsruhe_A_deformed_pig_is_standing_on_a_rise_above_a_river_landscape._Its_body_is_divided_towards_the_back._Two_front_legs_are_sticking_up_out_of_its_back._The_Engraving_was_preceded_by_a_leaflet_by_Sebastian_Brant,_which_spread_the_news_of_the_birth_of_a_two_bodied,_eight_legged,_four_eared_and_two_tongued_pig_in_Landser._Deformed_animals_such_as_these_were_interpreted_as_divine_signs_by_the_population,_referring_to_the_end_of_the_world_which_was_expected_to_take_place_in_about_1500._In_the_course_of_the_impending_Turkish_invasion,_the_leaflet_and_Engraving_have_also_been_interpreted_as_heralding_the_imminent_supremacy_of_the_heathens_over_the_Christians,_or_more_generally_the_rule_of_the_Antichrist.Artist:D?RER,_Albrecht_Title:_The_Deformed_Landser_Sow___Painted_in__1501-1550___,__German__-_-_graphics__:_other |
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The Prodigal Son ID de tableau:: 63570 Voir la galerie dans Suède |
The Prodigal Son 261 x 202 mm Staatliche Kunsthalle, Karlsruhe In the Engraving of The Prodigal Son, D?rer deviated considerably from earlier depictions of the theme. Here, the scene is placed in the midst of a Franconian farm and shows the prodigal son at the moment of his repentance, kneeling in prayer on a pile of manure in the foreground amongst the swine. The naturalism of the picture was widely admired and contributed to the fame of the engraving.Artist:D?RER, Albrecht Title: The Prodigal Son Painted in 1501-1550 , German - - graphics : religious 261_x_202_mm_Staatliche_Kunsthalle,_Karlsruhe_In_the_Engraving_of_The_Prodigal_Son,_D?rer_deviated_considerably_from_earlier_depictions_of_the_theme._Here,_the_scene_is_placed_in_the_midst_of_a_Franconian_farm_and_shows_the_prodigal_son_at_the_moment_of_his_repentance,_kneeling_in_prayer_on_a_pile_of_manure_in_the_foreground_amongst_the_swine._The_naturalism_of_the_picture_was_widely_admired_and_contributed_to_the_fame_of_the_engraving.Artist:D?RER,_Albrecht_Title:_The_Prodigal_Son___Painted_in__1501-1550___,__German__-_-_graphics__:_religious |
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Three Peasants in Conversation ID de tableau:: 63571 Voir la galerie dans Suède |
Three Peasants in Conversation 1497 Engraving, 108 x 77 mm Metropolitan Museum of Art, New York This scene has been connected by a number of commentators to the peasant uprisings of the period. It should be remembered, however, that D?rer's wife Agnes sold her husband's woodcuts and engravings in a stall in the market square of Nuremberg, as well as at the fairs in other cities. Peasants were ever-present at these events, as vendors as well as buyers. The sword which the peasant uses for a cane is similarly used as a satirical accessory in Martin Schongauer's engraving Peasant Family Going to Market.Artist:D?RER, Albrecht Title: Three Peasants in Conversation Painted in 1501-1550 , German - - graphics : genre 1497_Engraving,_108_x_77_mm_Metropolitan_Museum_of_Art,_New_York_This_scene_has_been_connected_by_a_number_of_commentators_to_the_peasant_uprisings_of_the_period._It_should_be_remembered,_however,_that_D?rer's_wife_Agnes_sold_her_husband's_woodcuts_and_engravings_in_a_stall_in_the_market_square_of_Nuremberg,_as_well_as_at_the_fairs_in_other_cities._Peasants_were_ever-present_at_these_events,_as_vendors_as_well_as_buyers._The_sword_which_the_peasant_uses_for_a_cane_is_similarly_used_as_a_satirical_accessory_in_Martin_Schongauer's_engraving_Peasant_Family_Going_to_Market.Artist:D?RER,_Albrecht_Title:_Three_Peasants_in_Conversation___Painted_in__1501-1550___,__German__-_-_graphics__:_genre |
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St John's Church ID de tableau:: 63572 Voir la galerie dans Suède |
St John's Church 1489 Watercolour and gouache on paper, 29 x 42 cm The Hermitage, St. Petersburg This watercolour is among the earliest landscape paintings in European art to depict a specific location. D?rer may well have painted it in the summer of 1489, at the age of 18, although it could date from 1494 after his journeyman travels. Inscribed `Saint John's Church', it shows the church and a row of houses which lay just to the west of Nuremberg. Nearly 40 years later D?rer was to be buried in Saint John's graveyard. D?rer's watercolour view faces south, with a view of the distant hills beyond. The perspective is curious; it is almost a bird's-eye view. The row of houses appears flat rather than three-dimensional. Despite these problems, D?rer has lavished great care on the picture. In his early watercolours he was more concerned about the rendering of detail, rather than the overall effect. The watercolour of Saint John's Church was looted during the Second World War and lost for nearly 50 years. Owned by the Kunsthalle in Bremen, it was among thousands of Old Master drawings which had been hidden for safekeeping in the cellar of a mansion 50 miles north-west of Berlin. The Red Army occupied the house in 1945 and soldiers ransacked the art works. Viktor Baldin, a young officer, found this watercolour on the floor, among a mass of works abandoned by the first looters. He saved the picture, along with 363 other drawings (including 22 D?rers), and brought it back to Russia. Baldin later gave the drawings to the architectural museum near Moscow where he worked. The existence of the missing Bremen pictures was kept secret until 1992. They are temporarily at the Hermitage in St Petersburg and lengthy negotiations are likely before their return to Bremen.Artist:D?RER, Albrecht Title: St John's Church Painted in 1501-1550 , German - - graphics : landscape 1489_Watercolour_and_gouache_on_paper,_29_x_42_cm_The_Hermitage,_St._Petersburg_This_watercolour_is_among_the_earliest_landscape_paintings_in_European_art_to_depict_a_specific_location._D?rer_may_well_have_painted_it_in_the_summer_of_1489,_at_the_age_of_18,_although_it_could_date_from_1494_after_his_journeyman_travels._Inscribed_`Saint_John's_Church',_it_shows_the_church_and_a_row_of_houses_which_lay_just_to_the_west_of_Nuremberg._Nearly_40_years_later_D?rer_was_to_be_buried_in_Saint_John's_graveyard._D?rer's_watercolour_view_faces_south,_with_a_view_of_the_distant_hills_beyond._The_perspective_is_curious;_it_is_almost_a_bird's-eye_view._The_row_of_houses_appears_flat_rather_than_three-dimensional._Despite_these_problems,_D?rer_has_lavished_great_care_on_the_picture._In_his_early_watercolours_he_was_more_concerned_about_the_rendering_of_detail,_rather_than_the_overall_effect._The_watercolour_of_Saint_John's_Church_was_looted_during_the_Second_World_War_and_lost_for_nearly_50_years._Owned_by_the_Kunsthalle_in_Bremen,_it_was_among_thousands_of_Old_Master_drawings_which_had_been_hidden_for_safekeeping_in_the_cellar_of_a_mansion_50_miles_north-west_of_Berlin._The_Red_Army_occupied_the_house_in_1945_and_soldiers_ransacked_the_art_works._Viktor_Baldin,_a_young_officer,_found_this_watercolour_on_the_floor,_among_a_mass_of_works_abandoned_by_the_first_looters._He_saved_the_picture,_along_with_363_other_drawings_(including_22_D?rers),_and_brought_it_back_to_Russia._Baldin_later_gave_the_drawings_to_the_architectural_museum_near_Moscow_where_he_worked._The_existence_of_the_missing_Bremen_pictures_was_kept_secret_until_1992._They_are_temporarily_at_the_Hermitage_in_St_Petersburg_and_lengthy_negotiations_are_likely_before_their_return_to_Bremen.Artist:D?RER,_Albrecht_Title:_St_John's_Church___Painted_in__1501-1550___,__German__-_-_graphics__:_landscape |
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Mass ID de tableau:: 63573 Voir la galerie dans Suède |
Mass 307 x 221 mm Staatliche Museen, Berlin The late date is justified by the simplified and strictly planar representation. Depth of field is not lacking, but occurs only in a regular succession of planes, The drawing also has interest for historians of architecture: an arcade with columns that have an intermediate entablature above their capitals. The connection between this and the transverse column pairs in the side aisle (which breaks down into isolated bays) is unclear. The geminate altarpiece is in pure (North Italian) Renaissance style.Artist:D?RER, Albrecht Title: Mass Painted in 1501-1550 , German - - graphics : study 307_x_221_mm_Staatliche_Museen,_Berlin_The_late_date_is_justified_by_the_simplified_and_strictly_planar_representation._Depth_of_field_is_not_lacking,_but_occurs_only_in_a_regular_succession_of_planes,_The_drawing_also_has_interest_for_historians_of_architecture:_an_arcade_with_columns_that_have_an_intermediate_entablature_above_their_capitals._The_connection_between_this_and_the_transverse_column_pairs_in_the_side_aisle_(which_breaks_down_into_isolated_bays)_is_unclear._The_geminate_altarpiece_is_in_pure_(North_Italian)_Renaissance_style.Artist:D?RER,_Albrecht_Title:_Mass___Painted_in__1501-1550___,__German__-_-_graphics__:_study |
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| Artiste précédent Artiste prochain | ||||||||||
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| Albrecht Durer | ||||||||||
| b.May 21, 1471, Imperial Free City of N??rnberg [Germany] d.April 6, 1528, N??rnberg | ||||||||||
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