Vier Tierbilder im Set
Vier Tierbilder im Set
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Aquarelle auf Chagall Insize Papier | Massivholzrahmen | verglast | Format jeweils 24 x 30 cm | vier Bilder im Set
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Vier Tierbilder im Set
We're sorry, but there is no English translation for this item yet. If you are interested in the size or the material of this product, please have a look at the German description as stated below.
Albrecht Dürers genauer Blick auf die Tierwelt: Dürer zählt zu den bedeutendsten und vielseitigsten Künstlern der Zeit des Übergangs vom Spätmittelalter zur Renaissance in Deutschland. Gerade seine Tierzeichnungen weisen auf den von Mythologie und Aberglaube unverstellten Blick auf die Natur voraus, der für die Renaissance so kennzeichnend wurde - sie sind an Genauigkeit in Beobachtung und zeichnerischer Ausführung kaum zu übertreffen.
"Junger Feldhase" (1502): Dieses Aquarell gehört zu den bekanntesten Tierstudien Dürers. Das Original befindet sich in der Grafischen Sammlung Albertina, Wien.
"Käuzchen" (1508): Original: Aquarell, Grafische Sammlung Albertina, Wien.
"Kopf eines Rehbocks" (1514): Original: Aquarell, Musée Bonnat, Bayonne.
"Vogel in drei Positionen" (1520): Original: Aquarell, Escorial, Madrid.
Die Aquarelle sind auf Chagall Insize Papier reproduziert und in anspruchsvoller Massivholzrahmung, verglast. Format jeweils 24 x 30 cm.
Alle vier Bilder im Set.
This set contains the following products
About Albrecht Dürer
1471-1528
German painter, copperplate engraver and woodcut draughtsman. He is one of the most important and versatile artists of the period of transition from the late Middle Ages to the Renaissance in Germany.
At first, he learned goldsmithing but at the age of fifteen, he already started as an apprentice to a painter. Later he followed the German custom of taking Wanderjahre (gap years), and when he returned home he developed the greatest versatility in painting using the techniques known at the time.
His animal drawings, that are produced in such accuracy of observation and execution of drawing, point to the view of nature, undistorted by mythology and superstition, that became so characteristic of the Renaissance. The statement formulated by Galileo more than a century later already applied to Dürer at his time: "Nature is written in that great book whichever is before our eyes but we cannot understand it if we do not first learn the language and grasp the symbols in which it is written."
At first, he learned goldsmithing but at the age of fifteen, he already started as an apprentice to a painter. Later he followed the German custom of taking Wanderjahre (gap years), and when he returned home he developed the greatest versatility in painting using the techniques known at the time.
His animal drawings, that are produced in such accuracy of observation and execution of drawing, point to the view of nature, undistorted by mythology and superstition, that became so characteristic of the Renaissance. The statement formulated by Galileo more than a century later already applied to Dürer at his time: "Nature is written in that great book whichever is before our eyes but we cannot understand it if we do not first learn the language and grasp the symbols in which it is written."
(Rebirth). The term describing art from around 1350 until the 16th century.
A mindset that developed in Florence in the late 14th century that was retrospectively classified as rebirth of the classical ideals of Greek and Roman antiquity. During the 15th and 16th centuries, the Renaissance spread first over Italy and then all over Western Europe and determined the entire artistic creation. Brilliant artists such as Donatello, Leonardo da Vinci, Michelangelo, Raphael, Dürer, Holbein, Cranach and Fouquet created their immortal works by following the humanistic premises and placing the human being in the centre of all thinking.
Renaissance experienced its heyday in literature through dramatic works and poems of William Shakespeare.
At the end of the 16th century, the Renaissance had to give way to the opulence of baroque, before its ideas experienced a rebirth in the classicism of the 18th century.