Albrecht Drer ("Albert" the translated version of his first name is also used for French), born 21 May 1471 and died in 1528 at Nuremberg is a painter , engraver and mathematician German. He will sign Albertus Drer Noricus (from Nuremberg ) or Drer Alemanus or his monogram.
/ / Biography
Self Portrait in Fur, 1500
Albrecht Drer was the third child of Albrecht Drer the Elder , a goldsmith from Hungary and arrived in Nuremberg in 1455. According to family tradition, Albrecht is also aimed at a goldsmith. At 13, he becomes an apprentice for three years and learn to use the chisel and the tip. Seeing the gifts of his son for drawing, Albrecht former gives him permission to enter the studio of a painter. Thus in 1486 he became an apprentice to Michael Wolgemut , with whom he learns to wield the pen and brush, to copy and draw from nature, to make landscapes in gouache and watercolor and also to paint in oil. He also became familiar with the technique of engraving is very influenced by bois.Il Schongauer. In 1491 , he traveled to Colmar to visit the artist, but he died 2 February, 1491 Albrecht then is still en route. It will happen in Colmar in 1492.
In 1494, he returned to Nuremberg to marry Agnes Frey , according to the wishes of both families. After completing his tour of companion through the Germany , he stayed twice at Venice in 1494 and then 1505. This trip marked him deeply. He then made the command of an altarpiece for the altar of Notre Dame in the national church of the German colony in San Bartolomeo, The Virgin of the Feast of the Rosary. In 1507, Drer returned to Nuremberg and began to study languages and mathematics.
In 1512 , he received a pension from the Emperor Maximilian of Hapsburg with titles of nobility by becoming court painter. It portrays. Upon the death of Emperor Maximilian I, he traveled to Holland in July 1520, accompanied by his wife and his servant where he will meet Erasmus , to get a pension from the new Emperor Charles Quint.
In 1526 , he painted The Four Apostles. He writes books, including The Rules of the paint or the Treaty proportions of the human body published in 1525 and translated by Louis Meigret in 1557. He illustrated several books, including The triumphal arch and triumphal Chariot of Maximilian, "The Passion of AD, The Apocalypse, The History of the Virgin Mary, and Ship of Fools (Das Narrenschiff) by Sebastian Brant.
He had Barthel Beham , Hans von Kulmbach (DE) , Hans Baldung as students.
Drer, the recorder
Recall that his master Michael Wolgemut is "responsible for the publication of two books xylographic: the Schatzbehalter (Treasury or religious) Stephan Fridolin in 1491 and the Nuremberg Chronicle , a sort of precise historical published in 1493 with six hundred and fifty to two wood engraved comprising three hundred different characters (two hundred and seventy kings, twenty-eight popes and a rich set of views of cities, landscapes and monasteries) " Drer, the mathematician 
1525, Underweysung der Messung, Instructions on measuring
Already an accomplished artist, Drer went to Italy in 1494 and met Jacopo de 'Barbari , who introduced the role of mathematics in the proportions and perspective. Drer immersed himself in Euclid's Elements and the treatise De architectura by Vitruvius. He also learns in the work of Alberti and Pacioli. It puts into practice its new knowledge in his artistic works. To build his engraving Adam and Eve, he prepares his work by a bundle of lines and circles. It analyzes and develops the new theory of perspective in particular his illustrations for Life of the Virgin. The taste of Albrecht Drer in mathematics is found in the engraving Melancholia table in which he slips a magic square , a polyhedron composed of two equilateral triangles and six pentagons irregular. He is also interested in proportions (proportions of the horse and human body proportions).
He began to collect documentation to write a great book on mathematics and its applications in the art. This memory will never appear but the materials he gathered will be used for its other treaties. His major mathematical work remains the instructions for measuring ruler and compass (1538, In ... and Symmetria Underweysung der Messung mit dem Zirkel und Richtscheit ), which develops into four major books geometric constructions such as spiral of Archimedes The logarithmic spiral , the conchoidal , the epicycloid the snail of Pascal , the construction of regular polygons to approximate 5, 7, 9, 11 or 13 sides and the trisection of the angle and squaring the circle , the Constructive solid geometry (cylinder, Platonic solids ..), a theory of the shadow and perspective. He will leave his name on a perspectograph simple eyepiece.
The descriptive geometry (originally the morphometry ) necessary for the representation of bodies in space, initiated by Drer will resume, two centuries later, by Gaspard Monge, who will complete development and the arts.
Fortune Review
From the romantic humanist
Of Apelles humanists to the "Gothic" of Baroque, the brave man of Goethe's romantic genius, the servant of the Nazarene movement in Protestant historians of the nineteenth century, Faust of Nietzsche and Thomas Mann , four centuries of German culture will reflect: the desire for universality, the tendency to abstraction, the need for standards and moral laws, and at the same time, individualism, realism, anxiety and rebellion. A leading figure in short: not for nothing that Goethe , in a moment of surrender, confess themselves reflected in the fate of the painter "with the difference that I know to get by a little better than him," he said with a kind of melancholy .
By the mid-nineteenth century,Gustav Friedrich Waagen (in) stated that "the works of Drer attract as reflections of a noble spirit, pure, true, authentically Germanic"
- "The admiration soon changes into a deep emotion when we think instead of what harrowing vicissitudes so amazing amount of gorgeous designs were built. I would compare this great artist to a tree, which grows on a barren soil, the more he is beaten by the sun and fertilized by rain, leaving no evidence of triumph, thanks to its robust nature: its rough bark is studded with knots and rough, but a vigorous sap wins and its top is crowned with a rich and thick foliage. "
It's in the literature on Drer's most ingenious metaphors, formulas brightest, but the ruling Waagen worth retaining because it identifies some of the basic themes echoed by the critics for the past three centuries: the importance Rights, the biographical element, the difficulties caused in the middle: the reference to Italy, defects (drought, harsh treatment, making for a lack of sensitivity to beauty of form, color - thin, metal uncertain compositions), and qualities, (invention, scientific culture, variety of techniques) - themes for innumerable variations and always recognizable even under the most various formulations.
The man was still interested. Sweet, kind, pious, honest, faithful, loyal, these epithets are set in the decades after his death with praise that the time has few other examples. Later publication of letters, diaries and other biographical writings could, if not alter, at least soften this portrait convention: elements of quirks, eccentricities, near inexplicable weakness, infantile, could complement the images too austere or too sweet proposed by the famous self-portraits.
"Poor Drer," says Goethe in Bologna , "think that in Venice he was mistaken in his accounts and signed a contract with the priests as he lost for weeks and months! And during his trip to Holland, he exchanged cons parrots, works great, with whom he hoped to make a fortune, and saving tips, he made portraits of servants who had brought him a dish of fruit. That poor devil of an artist makes me infinite trouble because, basically, his fate is also mine; except that I know to get by a little better than him. " These words, which vies with commiseration provocation, had no echo.
To August Wilhelm Schlegel , Drer is William Shakespeare , the Jakob Bhme , the Luther of the painting.
The Nazarene movement began soon after: Franz Pforr , head of the Brotherhood, regarded as a single model, which is indispensable to a modern and original art.
Peter von Cornelius , father of the phrase "strong and austere" that long characterized the art of painting Nuremberg, organized home, in 1815 , a party to celebrate the birthday of genius. A wreath of oak, loaded pallets, brushes, chisels and compass portrait of the halo master on a table, prints and engravings, as on an altar. We read an autobiographical fragment and a solemn toast to seal the decision now commemorate this date. The ceremony is recounted by Johann Friedrich Overbeck , who in 1840, was painting a large Triumph of Religion in the Arts Alliance or the Church and the Arts, where Drer appears in the place of honor.
The illustrator of the Apocalypse is not only the guardian of virtue and decency, the author works very chaste, but also a champion of the Catholic Church. The Self-portrait "fur" (1500), now in Munich, who represents the attitude of the Redeemer, hair braids composed countless curly, short beard, mustache, long, flexible, framing the wet mouth, is the manifesto of the new school. The cutesy image of Teuton devotee, is superimposed on that of the master own tireless, resourceful, multi-talented, good temper German.
With the festivities organized in 1828 in Nuremberg, Berlin and Munich for the third centenary of his death, set features a stylish Drer Biedermeier , as is the monument of Christian Daniel Rauch , opened the same year in Nuremberg. We glimpse the face behind the scrolls, swirls, spirals of hair out of the great dress in the costume, the model poses as a senator.
The description by Gottfried Keller , in Henry the Green Carnival of Artists in Munich in 1840, with Drer, who closes the procession amidst symbols and personifications shows when it comes to simplifications and reductions most arbitrary man and work.
Years after swinging between admiration and disapproval, Goethe went into raptures at the pen and ink drawings that adorn the pages stored in Munich Book of Hours of Maximilian I.
This craze leaves lasting impact on German art of the nineteenth century and contributes much more than expressions of inner circle to the popularity of Drer.
In 1808, Aloys Senefelder , the inventor of lithography, published in facsimile drawings done by the book of devotion, the consequences are immediate, and in 1810 the frontispiece of Gtz von Berlichingen of Franz Pforr , inspired the decorative style of Drer, while Peter von Cornelius , at the same time, illustrates Faust on the same model. One of his students, Eugen Napoleon Neureuther, pushes this even further by illustrating how an edition of Goethe's ballads and romance with the approval and praise of the latter. The method extends to Adolph von Menzel in which she transforms into the exuberant vegetation and wildlife monstrous Jugendstil.
The requirement is then made sense to rediscover the artist, to conduct audits on a historical level, to clarify its relationship with different backgrounds and personalities of his time. This is the beginning of a work that the multiplicity of intellectual habits, stereotypes and common places make long and difficult: the figure seems to have become so obvious that it no longer needs to be defined. . Anti-historical interpretations continue, even on a different plane. In the Birth of Tragedy, Nietzsche identifies with Schopenhauer Trooper of the famous engraving alone with his dog and his horse, impassive face of horrible companions and yet without hope. Exactly the opposite that the painter wanted to represent: the image of miles christianus, inspired by the Enchiridion Militis Christiani of Erasmus in his firm about the path that leads to eternal salvation by fixing firmly and intensely his eyes on the thing itself, even in the presence of Death and the Devil.
Regarding the influence of Drer on his immediate successors, it must be stressed particularly the importance of her prints. It is through that features the artist's happening in almost all Nordic painting of the XVI century, it plays a decisive role in the Italian Mannerism, and inventions "Drer to" come to be applied in a production art or craft that goes from Poland to France.
After experiencing the seventeenth century a strong revival, but fleeting in the entourage of the emperor scholar Rudolf II , the popularity of Drer became the Romantics, the cult that was mentioned.
From 1502 to 1930
- Jacques Wimpfeling , 1502
- Martin Schaungauer student, Albrecht Drer, a German North also dominates our time and especially painted tables Nrenberg most accomplished, that the merchants bring in Italy where the most famous painters held in the same esteem as those of Parrhasius Apelles and .
Albrecht Drer: Arms of the Tucher and Scheurl, c. 1512
- L. Beheim, 1507
- I have also prepared the horoscope of our Drer and sent him
. Christoph von Scheurl , 1508 - What do I say moreover that the Nrnberg Albrecht Drer the general view in our century occupies the highest rank in both painting and sculpture? While he was recently in Italy where I often served as an interpreter, he was greeted by the artists of Venice and Bologna as a second Apelles. The Germans who live in Venice note that the table the most successful the city was run by him, the one where he represented the Emperor so precisely that only the wind seems to fail him. Three paintings also adorn the holy church of Wittenberg at the altar. With these three paintings he thought he could compete with Apelles. Like us, these ancient painters inhabited by joyful nature - like all educated people - our friendly Albrecht is also a social, friendly and very straight, which makes it very popular with the most remarkable men and loved above all as a brother by Willibald Pirckheimer , a man highly educated in Greek and Latin, a remarkable orator board member of the city and military leader .
Portrait of Maximilian
I, Holy Roman Emperor by Drer, 1519, Vienna
Maximilian I, Holy Roman Empire , 1512
- As Albrecht Drer, our loyal subject, has shown extreme diligence in carrying out the drawings that we had ordered, and as this same .
- Ulrich von Hutten , 1518
- A Venetian proverb says that all German cities are blind, but sees Nuremberg in one eye. The fact is, I think that your city has emerged as the sharpness of his mind by his great tenacity to work. And this applies both in the field of art .
- Erasmus of Rotterdam, 1523, 1525
- Dignus artifex which is Nunquam moriatur: He is an artist worthy of never die
- I want to do my portrait Drer: and why should I not desire it to such an artist ?
Willibald Pirckheimer engraving by Drer, 1524.
- Willibald Pirckheimer , 1528
- Three Epitaphs for Drer
- Albrecht Drer was first graced the world of his paintings, he spread around his art great. Now he is left to decorate the sky with his brush. Abandoning land it rises to the stars.
- All the talent, all that is honest and sincere, all that is wise and commendable, friendship and art lie in that grave.
- Albrecht, our tears make you life! That the earth does not conceal that what is mortal in you! And so the tears can not change destiny, may you find in our grief to thee the tribute due.
- Hans Sachs 1528
- This famous portrait is that of Albrecht Drer, painter of Nuremberg highly praised, whose art was far superior to that of all the great master of his time .
- Joachim Camerarius Old , 1532
- We know that our Albrecht was born in Hungary but that his ancestors emigrated to Germany. There is no need to elaborate further on his origins and his family. Also worthy of respect may have been his ancestors he is sure that they have lavished more praise than he has rendered. Nature has endowed with a body of an imposing figure who, as of right, should the immense spirit within. He has an expressive head, piercing eyes, a nose handsome as the Greeks call perfect, a fairly long neck, wide chest, a body well built, muscular thighs and strong legs. It has probably never seen fingers as thin as hers. The tone of his voice was so pleasant and so charming that listeners were impressed before he stopped talking. He had continued to study "literature", but he had acquired knowledge, particularly in the natural sciences and mathematics. Just as he had before and learned how to convey the most important in practice, he had even figured out how to state it clearly. His writings are evidence of geometry, I do not see how we could make more progress in this science, so he could control it. His quick wit led him to behave in accordance with morality and a moral life when he was so well illustrated that has rightly considered a man of honor. But there was no stiffness or hardness grumbles repulsive, he was not indifferent to the charms and pleasures of life associated with the nobility and righteousness and old, yet he devoted himself sports and music we have inherited the ancient .
- Philip Melanchthon , 1546
- I remember the painter Albrecht Drer, a man of great talent and great ability, had said that in his youth he loved painters colorful and had great joy to one of his admirers by harmony of its colors. Only later, already old, he began to observe nature and to consider its own events, he understood that it is precisely this simplicity that resided in honor of the art. As he could not quite reach it, he had, he said, admired her work as before but he was often disappointed when he looked at his pictures and thought about their weaknesses .
Joachim von Sandrart
1854
- Joachim von Sandrart , 1681
- Therefore rests in peace, prince of artists! Thou art more than a great man! In art you got nobody equaled!, You have illuminated the earth today is the sky that you have. You paint now the kingdom of God. Architects, sculptors, painters and their boss call you gird yourself in the death of a laurel wreath .
- Vixit Germaniae suae Decus ALBERTUS DURERUS Artium Lumen, Sol artificum, Urbis Patr. Nor. Ornamentum, Pictor, chalcographus Suculptor sine Exemplo, Quia Omniscius, Dignus Inventus Exter, Quem Imitandum Censerent. Magnes Magnatum, Cos ingeniorum, Post Sesqui Secula Requiem Who Parem not Habuit. Solus Heic Cubare Jubetur, You Flora Sparge Viator. ARS MDCLXXXI. J. De S.
- Translation: Albrecht Drer, the pride of Germany, died. The influence of art, artists sun. Noricus, Honour for his hometown, a painter, an engraver, a sculptor who did not like him, because he was acquainted with all sciences, foreigners have honored and were modeled. He was a magnet that drew him to all the distinguished men, a stone where others have honed their understanding even after a century and a half. Because he had no equal, he should stand alone here. Incidentally, places flowers on his grave.
- In the year 1671, J von Sandrart has registered for this man highly deserving.
- Johann Joachim Winckelmann , 1764
- As Holbein and Drer, the fathers of the art in Germany showed a surprising talent in this field will, and if as Raphael, Correggio and Titian, they could admire and reproduce the works of the ancients, they were as large as the latter, yes, he might have even surpassed .
- Johann Gottfried von Herder , 1788
- Of all the paintings are here, those of Drer interest me the most, I would have liked to be such a painter. It destroys everything that is around. Paul among his apostles, his self-portrait above the door, his Adam and Eve figures that remain etched in the soul. Beyond that, I also saw other beautiful, beautiful things.
Goethe at the age of 70 years
- Johann Wolfgang von Goethe , 1772, 1776, 1786
- I can not say how much I hate our artists powdered Puppet painters: they have seduced women with their faces to their theatrical poses false colors and gaudy clothing. O manly Albrecht Drer, mocked by the ignorant, otherwise I admire how your features etched
- Do not underestimate, do not ridicule, do not embellish, do not spoil that for you the world is seen as Albrecht Drer, with its vitality and virility, his inner strength and firmness .
- Oh, if fortune had pushed Albrecht Drer a little further in Italy! In Munich, I saw some prominent parts of it. The poor man, as he has strayed in Venice through a contract with the priests, losing weeks and months! As in the Netherlands where he believes his chance by exchanging wonderful works of art where parrots and cons, to save a tip, he portrays the servants who brought him a cup of fruit. A poor fool of an artist as he touches me deeply, because basically, this is my destiny but I know a little better to help me .
- Johann Kaspar Lavater , 1791
- Drer was inexhaustible, tireless, completing all: he could not do half what he had the opportunity to complete. What he did wrong .
- Ernst Theodor Amadeus Hoffmann , 1822
- Friedrich Campe, 1840
- a href = "% C3% Louis_Ier_de_Bavi A8re" alt = "Ludwig I of Bavaria"> Ludwig I of Bavaria, 1842
- Julius Hbner , 1871
- Friederich Leitschuh, 1884
- Auguste Rodin , 1912
- Albrecht Drer, it is sometimes said, has a color hard and dry. Not at all. But it is a German it is a generalization: his compositions are as precise logical constructions, and his characters are strong as basic types. That is why its design is so supported and color if voluntary .
- Wilhelm Hausenstein , 1928
- Thomas Mann , 1928
- Think Drer means loving, smile and remember you. This means understanding what is most profound and at the same time less personal in us what is outside and below the limits of our carnal me, but who determines what and who feeds me. Is history as myth, history is still flesh and always present tense, because we are much less individuals that we hope or fear .
- H. Focillon, 1930
- He is a poet and is a surveyor, a theoretician and inspired. ...
History of Art
In the critical work that follows this blind devotion, we must remember above all stylistic observations Wlfflin , and the studies pursued by Thausing , Flechsig and Tietze . It is on this research that details are from Winkler in terms of function and that Erwin Panofsky , - highlight of his long experience iconological, and putting his other hand to use his personal research on the life and thought of Drer and his relations with Italy - reached its complex interpretation, the most comprehensive to date, highlighting the different stages of the stylistic development of Drer studied both in whole and in its many manifestations.
The Work
The Paintings
Monogram of Albrecht Drer (1498)
The Four Apostles, Table entitled: St. Mark and St. Paul, panel (1526), Alte Pinakothek, Munich
The Four Apostles, left panel: St. John and St. Peter, Panel (1526), Alte Pinakothek, Munich
- The Virgin and Child, Metropolitan Museum of Art, New York
- Albrecht Drer the Elder, 1490, 47 x 39 cm
- Uffizi Gallery , Florence
- portrait of the artist's father signed and dated upper left
- the reverse the arms of Drer and Holper
- assumption of a diptych which represent the mother.
- Barbara Drer, born Holper, c. 1490-1493,
- Germanisches Nationalmuseum, Nuremberg
- Self-portrait at age 22 years or Self-Portrait with thistle, 1493,
- Frederick the Wise, 1496,
- Father of the Artist, 1497,
- Self-portrait at the age of 26, 1498,
- Oswald Krell, 1499,
- Elsbeth Tucher, 1499,
- Staatliche Kunstsammlungen, Kassel
- The Descent from the Cross, c. 1500-1503,
- Self-portrait at age 28 years or Self-portrait with fur, 1500
- Alte Pinakothek , Munich
- bears this inscription: Albertus Durerus Noricus ipsum sic me propriis effingebam coloribus tatis anno XXVIII
- Hercules killing the birds of Lake Stymphalus, 1500
- Germanisches Nationalmuseum, Nuremberg
- The Altarpiece of Baumgartner, 1503,
- The Adoration of the Magi, 1504,
- Portrait of a Young Venetian Woman, 1505
- Burkard von Speyer, 1506,
- Christ among the Doctors, 1506,
- Portrait of a young woman Venetian, c. 1506,
- The Virgin of the Rosary Day ,
- Adam and Eve, 1507,
- Portrait of a Man, 1512-1514,
- The Emperor Charlemagne and Emperor Sigismund, 1513,
- Germanisches Nationalmuseum, Nuremberg
- Michael Wolgemut, 1516, Germanisches Nationalmuseum, Nuremberg
- The Apostle Philip, 1516, Uffizi Gallery, Florence
- bears the inscription: "Sancta PHILIPPE ESPON PRO NOBIS 1516)
- Saint Anne and the Virgin and Child, 1519,
- The Emperor Maximilian I, 1519,
- Bernard von Reesen, 1521,
- Portrait of a Man, 1524,
- Hieronymus Holzschuh, 1526,
- Jakob Muffel, 1526, Kunsthistorisches Museum ,
- Johannes Kleberger, 1526,
- St. John the Evangelist and St. Peter and St. Paul and St. Mark, 1526,
- Alte Pinakothek , Munich
- also known as The Four Apostles or The Four Temperaments
Cemetery and Church St. John Nrenberg first watercolor of a landscape ...; Formerly in Bremen Kunsthalle.
The Work gouache and watercolor
Drer has the privilege to offer the first watercolor in the history of art, is the first landscape color that represents exactly one specific location .
The watercolors he made during his trip through the Alps, the researchers belong to two categories and this from botanical criteria: those he made in autumn 1494 during the trip to Venice, and those conducted in the spring of 1495 during the return, when he learned of Italian painting. In the past, a considerable differentiation is observed. It could even explain the stylistic differences based solely on the proper evolution of Drer, who frequently took an interest in landscape prints. Much of the watercolors - with the exception perhaps of the Town and Chateau d'Arco - as was done during the trip. The View from Innsbruck is considered by researchers as the first of the series .
A few hundred of his watercolors have survived, they are classified in this section in chronological order:
Main article
The Work engraved
Engravings isolated
Rank faithful Catalogue Meder chronological order:
- 1493-1495: c. 1493; The Martyrdom of St. Sebastian, c. 1495; Saint Christopher, c. 1495; Great Crucifixion of Christ, c.1495; The Great Lamentation, c. 1495.
- 1496-1498: c.1496, c.1496; c.1496; c.1496-1497; c. 1496-1497; winner Samson the lion, c.1496-1497; The Martyrdom of Saint Catherine, c.1497-1498; The Holy Family with three rabbits, c. 1497; The Martyrdom of St. John the Evangelist, c. 1497-1498; The Vision of the seven candlesticks, c. 1497-1498, St. John called in heaven, c. 1497-1498; The Four Horsemen, c. 1497-1498, The Fall of the stars, ie 1497-1498; Four angels holding the winds and the anointing of the elect, c. 1497-1498; ringtones The Seven Trumpets of Angels, c. 1497-1498; The Four Angels of the Euphrates, c. 1497-1498, St. John Devouring the Book, v. 1497-1498; Woman clothed with the sun and the dragon with seven heads, ie 1497-1498; The Battle of St. Michael the dragon cons, c. 1497-1498; The seven-headed dragon and the beast with horns lamb, c. 1497-1498; The Adoration of the Lamb - Song of elected officials, ie 1497-1498; The Great Prostitute of Babylon, c. 1497-1498; Young Couple and Death or The Promenade, c. 1497-1498; The Sea Monster or The Rape of Amymone, c. 1498; The Ten thousand tortures of Nicomedia, c.1497-98.
- 1500-1502: c.1500; c.1500-1501, c.1500-1502, c. 1500-1502; c.1500-1503; or v. 1501 Saint Eustache, c. 1501; St. John the Baptist and Onuphrius with the crown of hops, c.1502, St. Anthony and St. Paul, c.1502, St. George on horseback, c. 1502-1503; Calvary (the small crucifixion of Christ), c. 1502-1503.
- 1503-1508: c.1503, c.1503-1505, v. 1503-1505, St. Jerome doing penance, c. 1506; daily Communion of Mary Magdalene, c.1503-1508.
- 1510-1511: 1510, 1510, 1510, c.1510, , 1510, 1511, c. 1511; the Mass of St. Gregory, 1511, St. Christopher, 1511; The Adoration of the Magi, 1511, Holy Family and two musical angels, 1511, Holy Family under the tree, 1511, Cain killing Abel, 1511; Salome bringing to the head of John Herod, 1511; The Holy Trinity (Holy See), 1511.
- 1512-1518: 1512; c.1512-1514; c.1512-1517, 1513; c. 1515; The Patron Saints of Austria, 1515; Mary with Saint John the Baptist, St. Bruno and the Carthusians, 1515; The Rhinoceros, 1515; Owl is flying with birds, c. 1515-1516; Bookplate Hieronymus Ebner board member at Nuremberg, 1516; Christ on the cross with a border of angels, 1516; Christ on the Cross with Three Angels, c.1516; Christ on the Cross, c. 1516-1520, Mary Queen of Angels, 1518, St. Sibaud, 1518, Portrait of Emperor Maximilian I, c.1519.
- 1520-1526: The 1520; 1522, 1523; 1526, 1526.
Suites
- Albertina Passion, c.1495; following four pages. "Long before he found his grand style of the Apocalypse, Drer had drawn on the blocks so-called passion Albertina (...). The Italian influence here mingles with that of Schongauer. "Musper.
Flagellation of Christ, The Crowning of Thorns, Christ carrying the cross, Christ crucified. - The Apocalypse, 1496-1498: Only once that Drer had made a jet. "This is the first book exclusively created and published by an artist," Panofsky .
St. John before the Madonna, The Martyrdom of St. John, St. John saw seven candlesticks, Jean before God and the elders, the four horsemen of the Apocalypse, the sixth seal, four angels holding the four winds of the earth, Seven angels trumpet players, the four angels of the Euphrates, jean devouring the book of life, a woman clothed with the sun and the dragon with seven heads, St. Michael slaying the dragon, the dragon with seven heads and horns of the beast ram, Anthem of the elect, the prostitute of Babylon, the angel and the key to the abyss. - La Grande Passion, 1511: "During his trip to the Netherlands, Drer demanded for this work would be considerable and copied everywhere, are relatively large"
The Last Supper, Christ on the Mount of Olives, The Taking of Christ The Flagellation of Christ, Christ before the people, Ecce Homo, Christ carrying the cross, Christ on the Cross, the Lamentation, the Entombment , The Christ descended into hell, Resurrection. - Life of the Virgin, 1511: After twenty sheets. It is on this set that Vasari exclaim: "The Life of the Virgin is so great that it is impossible to do better in terms of composition, perspective and architecture, costumes and the faces of older as younger. "
The victim of Joachim, Joachim's announcement, Joachim and Anne on the porch gold, The Birth of the Virgin, Presentation of the Virgin in the Temple, The Marriage of the Virgin, the Annunciation, the Visitation, Nativity, The Circumcision of Christ, Adoration of the Magi, The Presentation in the Temple, the Flight into Egypt, The Rest on the Flight into Egypt (the Holy Family in a courtyard), Christ and the Doctors Christ taking leave of his mother, Death of the Virgin Assumption The veneration of the Virgin. - Little Passion on wood, 1509-1511: thirty-seven engravings accompanied Latin verses Benedikt Chelidonius.Les wood are visible at the British Museum in London.
Adam and Eve in Paradise, The Expulsion from Paradise, the Annunciation, the Nativity, Christ's Entry to Jerusalem Expulsion of merchants from the temple, Christ taking leave of his mother, The Last Supper, the washing of feet , Christ on the Mount of Olives, The Taking of Christ, Christ before Annas, Christ before Caiaphas, Christ insulted Christ Before Pilate Christ Before Herod, Flagellation, Crowning with Thorns, Ecce Homo, Pilate washing his hands, Christ bearing his cross, Veronica between Peter and Paul, the crucifixion, Christ on the Cross, Christ in Limbo, the Descent from the Cross, Lamentation, the Entombment, Resurrection, The Christ appearing to his mother, Christ as a gardener, and Christ at Emmaus' doubting Thomas, Ascension, Pentecost, the Last Judgement. - The Arc of Triumph of the Emperor Maximilian I, 1515: it is a giant wood carving, consisting of 192 wooden blocks. Stabius created the schema, Klderer provides the design of architectural framework, Andreae took care of Engraving and Drer was the prime contractor.
The triumphal arch, the betrothal of the Emperor Maximilian and Mary of Burgundy, Congress and double engagement in Vienna, the interview of Maximilian I and Henry VIII of England, St. Roch de Treves, Philip Engagement the Handsome and Joanna of Castile, The Emperors Theodosius, Arcade and Honore. - Triumphal Chariot or 1516-1518.
- The Great Triumphal Chariot of Emperor Maximilian I, 1518.
Chisels, drypoint, etchings
- 1494-1500: c.1494; c.1494; c.1494-1495 c. 1495; The declaration of love, c. 1495; The Turkish Knight and lansquenets, c. 1495; Saint Jerome in the Wilderness, c.1496; The cook and his wife, c. 1496; Pork monstrous Landster, c. 1496; Penance of St. Chrysostom, c.1496; The prodigal son, c.1496; three peasants, c. 1496-1497; Demoiselle lancer on horseback, c.1496-1497; The Turkish family, c. 1496-1497; The farmer and his wife, c.1496-1497; Drive, v. 1496-1498, Madonna of the monkey, c. 1497-1498; Four naked women (Four Witches), 1497; The dream (The Temptation), c. 1497-1498; Leviathan, c. 1498; San Sebastian leaning against the column, ie 1498-1499; Hercules (Jealousy), c. 1498-1499; The Sun of Justice (Justitiae Sol), c.1498-1499; Virgin halo of glory, v. 1498-1500.
- 1500-1510: c.1500, c. 1500-1502, St. Sebastian leaning against the tree, ie 1500-1502, Saint Anne, Mary and the Christ Child, c. 1500-1502; genii shield and helmet (Glory), v. 1501-1502, The Witch, c.1501-1502; Nemesis (The Great Fortune), c. 1501-1502, St. Georges foot, c. 1502-1503; Apollo and Diana, c. 1502-1503; The flag bearer, c. 1502-1503; The Virgin on the bench grass, 1503; Adam and Eve, 1504; Nativity, 1504; The family of satyrs, 1505; The little horse, 1505; The great horse, 1505, St. George on horseback, 1508 ; Virgin halo of glory, 1508, The Taking of Christ, 1508; Christ on the Cross, 1508; Christ of pain before Mary and John, 1509; Christ on the Mount of Olives, 1509.
- 1511-1515: 1511; 1511; 1512 1512; 1512; 1512; 1512; 1512; 1512; 1512; 1512; 1512, 1512; 1512, 1512, 1513; 1513, 1513; 1514; 1514; 1514, 1514; 1514; 1514; 1514; 1514.
- 1515-1525: 1515; 1515; 1515; 1516; 1516; 1516; 1518, 1518; 1519, 1519; 1519; 1520, , 1520, 1521, 1521, c.1523; 1523; 1523, 1523, 1524; , 1524; 1526, 1526 . "The Apostle Philip, 1526.
The Work drawn
Self-portrait to 20 years, U-Erlangen-Nrnberg
- Self-portrait at the age of 14, 1484, Albertina Museum , Vienna (bears this inscription in his hand: "I made this portrait from me, looking me in the mirror, the year 1484, when I was a child. ")
- Self-portrait at the age of 20, 20.4 20.8 cm, University of Erlangen, Nuremberg.
- Passion Green, 1504, Albertina Museum, Vienna (series of twelve drawings, so called because of the color of paper)
- Fechtbuch - c. 1520: Drer was not a Fechtmeister and this book was never published (it was perhaps a commission). However, his drawings are among the best historical combat techniques. This talented artist in the sense of refined detail shows examples of dynamic and realistic techniques of his time. This work has illustrations of the battle Langenschwert at Messerfechten, the dagger and bare hands.
The Work writing
- Underweysung der Messung mit dem Zirkel und Richtscheyt , 1525 and 1538 (Instruction on how to measure or instructions for the measure to the ruler and compass).
- (En) Albrecht Drer (trans. Joan Peiffer), Geometry Sources partial
- (In) John J. O'Connor and Edmund F. Robertson, " Albrecht Drer ", MacTutor History of Mathematics archive , University of St Andrews.
- Marie-Nicolas Bouillet and Alexis Chassang (ed.), "Albrecht Drer" in Universal Dictionary of History and Geography, 1878 References
- Maria Cristina Paoluzzi, Engraving, Solar
- for Wiki achieved by Breugelius
- Handbook of the history of painting. School German, Flemish and Dutch, 3 volumes, 1863
- Gustav Friedrich Waagen, ibid
- October 18, 1786
- May 20
- if we stick to Panofsky
- Translated: "Epithoma Germanicarum rerum", Strasbourg, 1505
- 1507 Letter to Willibald Pirckheimer , May 23, 1507
- Translated: Libellus de Laudibus Germaniae. Leipzig, 1508
- letter to the Council of Nuremberg, 12 December 1512
- Letter to Willibald Pirckheimer , December 25, 1518
- Letter to Willibald Pirckheimer , July 19, 1523
- Letter to Willibald Pirckheimer , January 8, 1525
- Legend rhymed for a portrait by Drer engraved on wood by E. Schn
- From the introduction of the Latin translation of Drer's treatise on proportions
- From a letter written in Latin Georg Van Anhalt, September 17, 1546
- Zweihundert Deutsche Mnner,
- Registration Drer's grave in the cemetery of St. John Nrenberg
- Geschichte der Kunst der Alterturms
- Von Deutcher Baukunst, 1772
- Hans Sachsens Poetische Sendung
- From the trip to Italy, Bologna October 18, 1786
- From a manuscript in the Zurich Central Library
- From the Nrnbergschen Denktblttern
- Excerpt from Walhalla's Genossen, Munich 1842
- Journal, Saturday, March 10, 1849
- From the speech on the occasion of the feast of Drer's art association in Dresden, June 25, 1871
- From the introduction to "Diary of trip to Holland" by Drer. Leipsic, 1884
- The Art Interview met by Paul Gsell, Leipzig, 1911
- From Die Neue Rundschau, 2, 1928
- Preview: "The role of the German writer in our time" conversation with his brother
- Masters of the Print, 1930
- H. Wlfflin: Die Kunst Albrecht Drer in Nachbildungen, Lippmann, Berlin 1905
- M. Thausing: Albrecht Drer. Geschichte seines Lebens und seiner Kunst, Leipzig 1876
- Flechsig, Albrecht Drer, 1928
- Tietze, Kritische Verzeichnis der Werke Albrecht Drer, 1928 2 volumes
- Winkler, Albrecht Drer, 1958
- Erwin Panofsky : Drer Stellung zur Antike, Vienna 1923
- From "Albrecht Drer", Leipzig 1941
- From the inaugural lecture delivered at Munster, Westphalia, 18 December 1965
- F. Winkler
- Panofsky except
- Erwin Panofsky, The Life and Art of Albrecht Drer, P. 53, Princeton
- Alain Borer: the graphic work of Albrecht Drer, Booking International, Paris
- (bears this inscription: Imago Erasmi Roterodami ab Alberto Durero ad vivam effigiem deliniata and which can be translated as "His writings give a better picture of the man that this portrait
Bibliography
- A. Borer and C. Good: The graphic work of Albrecht Drer, Booking International, Paris
- F. Anzelewsky: die Zeichnung der deutsche Drerzeit, Berlin
- A. Bartsch: The painter and engraver, Leipzig
- A. Braham: Drer, London
- Mr. Brion: Drer, the man and his work, Aimery Somogy, Paris
- C. Dodgson: Albrecht Drer. The masters of engraving and etching, London and Boston
- Ephrussi Ch: Albrecht Drer and his drawings in Paris
- Mr. Friedlnder: Albrecht Drer und der Kupferstecher Holzsnittzeicnner, Berlin
- AM Hind: Albrecht Drer. His engravings and woodcuts, New York
- G. Jedlik: Albrecht Drer, Peider-Paris
- KA Knappe: Drer. Das graphische Werk, Vienna and Munich
- E. Panofsky: Drer Stellung zur Antike, Vienna
- Stadler FI: Drer Apokalypse und ihr Umkreis, Munich
- Thausing Mr. Albrecht seines Lebens und seiner Drer.Geschichte Kunst, Leipzig
- H. Wlfflin: Die Kunst Albrecht Drer in Nachbildungen, Lippmann, Berlin
- Bussierre SR: Albrecht Drer - etchings, the exhibition catalog of the Muse du Petit Palais, Paris-Museums, 1996
See also
External Links
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