Dürer
By Klaus Carl
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Dürer - Klaus Carl
Author: Klaus Carl
Translation: Marlena Metcalf
Layout:
Baseline Co Ltd
61A-63A Vo Van Tan
4th Floor
District 3, Ho Chi Minh City, Vietnam.
© Confidential Concepts, worldwide, USA
© Parkstone Press International, New York, USA
All rights reserved. No part of this book may be reproduced or adapted without the permission of the copyright holder, throughout the world.
Unless otherwise specified, copyright on the works reproduced lies with the respective photographers. Despite intensive research, it has not always been possible to establish copyright ownership. Where this is the case, we would appreciate notification.
ISBN: 978-1-78160-625-4
Klaus Carl
Albrecht
Dürer
TABLE OF CONTENT
Introduction
Dürer’s Life
The Painter
The Woodcuts
The Copper Engravings
The Drawings
BIOGRAPHY
INDEX
NOTES
1. Self-Portrait, c.1493.
Oil on linen, 57 x 45 cm.
Musée du Louvre, Paris.
2. Self-Portrait, c.1484.
Silver point, 27.5 x 19.6 cm.
Graphische Sammlung, Albertina, Vienna.
Introduction
Albrecht Dürer is not only the Young Hare, The Large Turf, or the Praying Hands, symbols of medieval art that have almost degenerated into kitsch. Among the artists of medieval Germany, Albrecht Dürer is without doubt one of the most outstanding figures. He was not only a painter and graphic artist, wood-carver, and copper engraver; he was also notable because of his mathematical examinations of the theoretical foundations of art, in the field of geometry in particular, where the transition from late Gothic style to the Renaissance became the most apparent.
Dürer’s continuous efforts to achieve perfection, together with the then common search for forms, rules, and mathematical laws, in order to be able to transform these ideas onto paper and canvas, is reflected in his writings from the second half of his industrious life. He published in 1525 the Underweysung der messung mit dem zirckel un richtscheit in Linien ebenen und gantzen corporen, durch Albrecht Dürer zusammen gezogen und zu nutz allen kunstliebhabenden mit zugehörigen figuren in truck gebracht im jar MDXXV. There were Latin editions also, published in the years 1532, 1535, and 1605. Among many other items were the first instructions, written in German, on the construction of sundials. The astronomer Johannes Kepler (1571-1630) and the mathematician Galileo Galilei (1564-1642) relied on Dürer’s ideas. In the year of Dürer’s death the four books on human movement were published: Hierin sind begriffen vier Bücher von menschlicher Proportion, durch Albrechten Dürer von Nürenberg erfunden und beschrieben, zu nutz allen denen, so zu dieser kunst lieb tragen. In the first three volumes Dürer described and examined types of human bodies, and in the fourth volume he occupied himself with the study of motion.
In contrast to the other artists of this epoch, an unusual amount of information is available on Dürer’s life, his development, and the impact of his work. As a contemporary of the reformer Martin Luther (1483-1546), he stands between the two great Christian persuasions, presenting the Catholics with the Life of Mary (1503-1504), St. Jerome in his Study (1514), and the Protestants with Knight, Death, and the Devil, and Melanchthon (1526). Dürer could never limit the abundance of his ideas.
In addition, there exists a Self-Portrait (1484) by the thirteen-year-old Dürer, who, as his self-portraits from the years 1492, 1493, 1498, and 1500 show , occasionally portrayed himself, drawing using the silver pen technique and adding a monogram later by hand, which therefore did not enable later corrections. As a twenty-year-old he wrote of his ideas in several books on