अल्ब्रेच्त् डेरर: Difference between revisions

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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.
 
== Nuremberg and the masterworks (1507 - 1520) ==
[[किपा:Salvatore Mundi detail.jpg|thumb|left|This detail from ''Salvatore Mundi'', an unfinished oil painting on wood, reveals Dürer's highly detailed preparatory drawing. ''See [[:Image:Albrecht Dürer 100.jpg|full painting]]'']]
 
Despite the regard in which he was held by the Venetians, Dürer was back in Nuremberg by mid-1507, and he remained in Germany until 1520. His reputation had spread throughout Europe and he was on friendly terms and in communication with most of the major artists including [[Raphael]], [[Giovanni Bellini]] and—mainly through [[Lorenzo di Credi]]—[[Leonardo]].
 
Between 1507 and 1511 Dürer worked on some of his most celebrated paintings: ''Adam and Eve'' (1507), ''[[Saint Ursula|The Martyrdom of the Ten Thousand]]'' (1508, for [[Frederick the Wise]]), ''Virgin with the Iris'' (1508), the altarpiece ''Assumption of the Virgin'' (1509, for Jacob Heller of [[Frankfurt]]), and ''Adoration of the Trinity'' (1511, for Matthaeus Landauer). During this period he also completed two woodcut series, the Great Passion and the Life of the Virgin, both published in 1511 together with a second edition of the Apocalypse series. The post-Venetian woodcuts show Dürer's development of [[chiaroscuro|clair-obsur]] effect <ref>Panofsky:135</ref>, creating a mid-tone throughout the print to which the highlights and shadows can be contrasted.
 
Other works from this period include the thirty-seven woodcut subjects of the Little Passion, published first in 1511, and a set of fifteen small engravings on the same theme in 1512. Indeed, complaining that painting did not make enough money to justify the time spent when compared to his prints, he produced no paintings from 1513 to 1516. However, in 1513 and 1514 Dürer created his three most famous [[engravings]]: ''The Knight, Death, and the Devil'' (1513, probably based on [[Desiderius Erasmus|Erasmus]]'s treatise 'Enichiridion militis Christiani'), ''[[St. Jerome in His Study (Dürer)|St. Jerome in his Study]]'', and the much-debated ''[[Melencolia I]]'' (both 1514).
 
[[किपा:Dürer - Rhinoceros.jpg|thumb|left|''[[Dürer's Rhinoceros]]'', [[woodcut]], 1515.]]
 
In 1515, he created his woodcut of the ''[[Dürer's Rhinoceros|Rhinoceros]]'' which had arrived in [[Lisbon]] from a written description and sketch by another artist, without ever seeing the animal himself. Despite being relatively inaccurate (the animal belonged to a now-extinct Indian species), the image has such force that it remains one of his best-known and was still used in some German school science text-books as late as last century.<ref name="Bartrum"/> In the years leading to 1520 he produced a wide range of works, including portraits in [[tempera]] on [[linen]] in 1516.
 
=== Patronage of Maximilian I ===
In 1512 Dürer became patronised by [[Maximilian I, Holy Roman Emperor|Maximilian I]]. His commissions included ''[[The Triumphal Arch]]'', a vast work printed from 192 separate blocks, the symbolism of which is partly informed by Pirckheimer's translation of [[Horapollo]]'s ''Hieroglyphica''. The design program and explanations were devised by [[Johannes Stabius]], the archtectural design by the master builder and court-painter Jörg Kölderer and the woodcutting itself by Hieronymous Andreae, with Dürer as designer-in-chief. The Arch was followed by the Triumphal Procession, the program of which was worked out in 1512 by [http://de.wikipedia.org/wiki/Marx_Treitzsaurwein Marx Treitz-Saurwein] and includes woodcuts by [[Albrecht Altdorfer]] and [[Hans Springinklee]], as well as Dürer.
 
Dürer worked in pen on the marginal images for an edition of the Emperor's printed Prayer-Book; these were quite unknown until facsimiles were published in 1808 as part of the first book published in [[lithography]]. Dürer's work on the book was halted for an unknown reason, and the decoration was continued by artists including [[Lucas Cranach the Elder]] and [[Hans Baldung]]. Dürer also made several portraits of the Emperor, including one shortly before Maximilian's death in 1519.
 
== Journey to the Netherlands (1520-1521) ==