Albrecht Durerb.May 21, 1471, Imperial Free City of N??rnberg [Germany] d.April 6, 1528, N??rnberg | |||
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Seated Woman Måleriet identifieringen:: 63664 Titta min galleri i Sverige |
Seated Woman 1514 Pen, 217 x 162 mm Staatliche Museen, Berlin This is a drawing from a model. Hans Sebald Beham later handled such figures in woodcut style. D?rer's genre pieces are copperplate engravings, but this drawing was not so used.Artist:D?RER, Albrecht Title: Seated Woman Painted in 1501-1550 , German - - graphics : study 1514_Pen,_217_x_162_mm_Staatliche_Museen,_Berlin_This_is_a_drawing_from_a_model._Hans_Sebald_Beham_later_handled_such_figures_in_woodcut_style._D?rer's_genre_pieces_are_copperplate_engravings,_but_this_drawing_was_not_so_used.Artist:D?RER,_Albrecht_Title:_Seated_Woman___Painted_in__1501-1550___,__German__-_-_graphics__:_study |
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Study of Drapery Måleriet identifieringen:: 63665 Titta min galleri i Sverige |
Study of Drapery 1508 Brush drawing on a dark ground with white highlight, 400 x 235 mm Staatliche Museen, Berlin This drawing, a study for the figure of St Paul in the Heller Altar, is a primary example of the monumental drapery of the middle period. The contrast with Gr?newald should be borne in mind: in D?rer, the light and shade are entirely subservient to the plastic form; in Gr?newald, they create a general, unseizable movement that extends beyond the surfaces and blends the figure into the background.Artist:D?RER, Albrecht Title: Study of Drapery Painted in 1501-1550 , German - - graphics : study 1508_Brush_drawing_on_a_dark_ground_with_white_highlight,_400_x_235_mm_Staatliche_Museen,_Berlin_This_drawing,_a_study_for_the_figure_of_St_Paul_in_the_Heller_Altar,_is_a_primary_example_of_the_monumental_drapery_of_the_middle_period._The_contrast_with_Gr?newald_should_be_borne_in_mind:_in_D?rer,_the_light_and_shade_are_entirely_subservient_to_the_plastic_form;_in_Gr?newald,_they_create_a_general,_unseizable_movement_that_extends_beyond_the_surfaces_and_blends_the_figure_into_the_background.Artist:D?RER,_Albrecht_Title:_Study_of_Drapery___Painted_in__1501-1550___,__German__-_-_graphics__:_study |
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Portrait of a Girl Måleriet identifieringen:: 63666 Titta min galleri i Sverige |
Portrait of a Girl 1515 Charcoal, 420 x 290 mm Staatliche Museen, Berlin It has been conjectured that the girl, whose eyes are not open equally wide and who has a somewhat sleepy expression, was a relative of D?rer's wife.Artist:D?RER, Albrecht Title: Portrait of a Girl Painted in 1501-1550 , German - - graphics : portrait 1515_Charcoal,_420_x_290_mm_Staatliche_Museen,_Berlin_It_has_been_conjectured_that_the_girl,_whose_eyes_are_not_open_equally_wide_and_who_has_a_somewhat_sleepy_expression,_was_a_relative_of_D?rer's_wife.Artist:D?RER,_Albrecht_Title:_Portrait_of_a_Girl___Painted_in__1501-1550___,__German__-_-_graphics__:_portrait |
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Green Passion: Christ before Caiaphas Måleriet identifieringen:: 63667 Titta min galleri i Sverige |
Green Passion: Christ before Caiaphas 1504 Pen drawing on green primed paper, 283 x 178 mm Graphische Sammlung Albertina, Vienna The Green Passion, so named after the green primed paper, consists of twelve sheets, the purpose of which is not known. It has been assumed that they were used as preliminary sketches for stained glass windows. Like the other pictures, the sheet of Christ before Caiaphas distinguishes itself through its fine white highlights which achieve a magical plasticity and dramatic lighting - as was created by the "clair-obscur" technique - in their harmony with the green base colour of the scene. Christ and Pilate, the two antagonists in the foreground, are positioned opposite each other and emphasized both by the lighting and the architecture.Artist:D?RER, Albrecht Title: Green Passion: Christ before Caiaphas Painted in 1501-1550 , German - - graphics : religious 1504_Pen_drawing_on_green_primed_paper,_283_x_178_mm_Graphische_Sammlung_Albertina,_Vienna_The_Green_Passion,_so_named_after_the_green_primed_paper,_consists_of_twelve_sheets,_the_purpose_of_which_is_not_known._It_has_been_assumed_that_they_were_used_as_preliminary_sketches_for_stained_glass_windows._Like_the_other_pictures,_the_sheet_of_Christ_before_Caiaphas_distinguishes_itself_through_its_fine_white_highlights_which_achieve_a_magical_plasticity_and_dramatic_lighting_-_as_was_created_by_the_"clair-obscur"_technique_-_in_their_harmony_with_the_green_base_colour_of_the_scene._Christ_and_Pilate,_the_two_antagonists_in_the_foreground,_are_positioned_opposite_each_other_and_emphasized_both_by_the_lighting_and_the_architecture.Artist:D?RER,_Albrecht_Title:_Green_Passion:_Christ_before_Caiaphas___Painted_in__1501-1550___,__German__-_-_graphics__:_religious |
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Apollo with the Solar Disc Måleriet identifieringen:: 63668 Titta min galleri i Sverige |
Apollo with the Solar Disc 1504 Pen, 285 x 202 mm British Museum, London The full title: Apollo with the Solar Disc and Diana Trying to Shield Herself from the Rays with Her Uplifted Hand. This variation on the Adam of the 1504 copperplate engraving was also conceived originally as a print, but was not engraved. The Adam of the print is more felicitous because of the contrast supplied by the turning of his head away from his extended free leg. The present drawing is finished to a great extent but not yet fully refined. The celestial background, rich in painterly effect, was added at a later stage. The original purpose was the depiction of the male figure alone, who represented the planetary god Sol. The rendering of the sun's rays is extremely noteworthy. The word "Apolo," written backwards with a view toward the engraving, is probably a substitute for the earlier name Sol; this would explain the conspicuous incongruity of the inscription and the space allotted to it.Artist:D?RER, Albrecht Title: Apollo with the Solar Disc Painted in 1501-1550 , German - - graphics : mythological 1504_Pen,_285_x_202_mm_British_Museum,_London_The_full_title:_Apollo_with_the_Solar_Disc_and_Diana_Trying_to_Shield_Herself_from_the_Rays_with_Her_Uplifted_Hand._This_variation_on_the_Adam_of_the_1504_copperplate_engraving_was_also_conceived_originally_as_a_print,_but_was_not_engraved._The_Adam_of_the_print_is_more_felicitous_because_of_the_contrast_supplied_by_the_turning_of_his_head_away_from_his_extended_free_leg._The_present_drawing_is_finished_to_a_great_extent_but_not_yet_fully_refined._The_celestial_background,_rich_in_painterly_effect,_was_added_at_a_later_stage._The_original_purpose_was_the_depiction_of_the_male_figure_alone,_who_represented_the_planetary_god_Sol._The_rendering_of_the_sun's_rays_is_extremely_noteworthy._The_word_"Apolo,"_written_backwards_with_a_view_toward_the_engraving,_is_probably_a_substitute_for_the_earlier_name_Sol;_this_would_explain_the_conspicuous_incongruity_of_the_inscription_and_the_space_allotted_to_it.Artist:D?RER,_Albrecht_Title:_Apollo_with_the_Solar_Disc___Painted_in__1501-1550___,__German__-_-_graphics__:_mythological |
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| Föregående Konstnär Nästa Konstnär | ||||||||||
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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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