|
|
|
|
Albrecht Durer
Alle Gemälde von Albrecht Durer
|
|
Walrus
|
|
1521 Pen drawing with watercolours, 206 x 315 mm British Museum, London Throughout his life, D?rer was interested in oddities of nature. The walrus has pushed the front half of his body into the picture and is looking at the observer with his peculiarly glassy gaze; this has led to the suggestion that D?rer created the study from a chopped off walrus head or stuffed animal, and completed the rest from his imagination. The study was to be used as a detail in the altar painting of an enthroned Madonna and Child surrounded by eight saints and angels playing instruments, but this work was never produced. At the top left D?rer wrote: "Das dozig thyr van dem ich do das hawbt conterfett hab, ist gefange worden in der niderlendischen see und was XII ellen brawendisch mit f?r f?ssen" (The animal which I have drawn this picture of was captured in the Dutch Sea and was twelve cubits in size with four feet).Artist:D?RER, Albrecht Title: Walrus Painted in 1501-1550 , German - - graphics : other
|
|
IDENTIFIZIERUNG:: 63606
|
|
|
|
|
|
Albrecht Durer:
b.May 21, 1471, Imperial Free City of Nernberg [Germany]
d.April 6, 1528, Nernberg
Albrecht Durer (May 21, 1471 ?C April 6, 1528) was a German painter, printmaker and theorist from Nuremberg. His still-famous works include the Apocalypse woodcuts, Knight, Death, and the Devil (1513), Saint Jerome in his Study (1514) and Melencolia I (1514), which has been the subject of extensive analysis and interpretation. His watercolours mark him as one of the first European landscape artists, while his ambitious woodcuts revolutionized the potential of that medium. D??rer introduction of classical motifs into Northern art, through his knowledge of Italian artists and German humanists, have secured his reputation as one of the most important figures of the Northern Renaissance. This is reinforced by his theoretical treatise which involve principles of mathematics, perspective and ideal proportions.
His prints established his reputation across Europe when he was still in his twenties, and he has been conventionally regarded as the greatest artist of the Renaissance in Northern Europe ever since.
|
