Posted by Albrecht Dürer. Artistic work of Albrecht Dürer

), who came to this German city from Hungary in the middle of the 15th century, and Barbara Holper. The Dürers had eighteen children, of whom eight survived. The future artist was the third child and the second son. His father, Albrecht Dürer Sr., a goldsmith, literally translated his Hungarian surname Aytoshi (Hungarian Ajtósi, from the name of the village of Aytosh, from the word ajtó - “door”), literally translated into German as Türer; subsequently it was transformed under the influence of the Frankish pronunciation and began to be written Dürer. Albrecht Dürer Jr. remembered his mother as a pious woman who punished her children "zealously" and often. Possibly weakened by her frequent pregnancies, she was sick a lot. Dürer's godfather was the famous German publisher Anton Koberger:6.

From 1477 Albrecht attended a Latin school. At first, the father attracted his son to work in a jewelry workshop. However, Albrecht wished to paint. During these years, he created a self-portrait (1484, Albertina, Vienna) and the Madonna with Two Angels (1485, Engraving Cabinet, Berlin). The elder Dürer, despite regretting the time spent on teaching his son, yielded to his requests, and at the age of 15 Albrecht was sent to the studio of the leading Nuremberg artist of that time, Michael Wolgemuth. Dürer himself spoke about this in the "Family Chronicle", created by him at the end of his life: 5.

Wolgemut Dürer mastered not only painting, but also engraving on wood and copper. Wolgemuth, together with his stepson Wilhelm Pleidenwurff, performed engravings for The Book of Chronicles by Hartmann Schedel. In the work on the most illustrated book of the 15th century, which experts consider the Book of Chronicles, Wolgemut was helped by his students. One of the engravings for this edition, "The Dance of Death", is attributed to Albrecht Dürer :97-98.

First trip. Marriage

A. Durer. Agnes Durer. Pen drawing. 1494

Trip to Italy

It is believed that in 1494 or a little earlier, Dürer undertook a trip to Italy. In the Family Chronicle, Dürer does not write anything about this trip, some researchers suggest that the artist made it in 1493/1494-1495 (there is also an opinion that it did not take place), where, perhaps, he gets acquainted with the work of Mantegna, Polayolo, Lorenzo di Credi, Giovanni Bellini and other masters.

Some researchers see confirmation that Dürer traveled to Italy in 1493 / 1494-1495 in his letter from Venice to Pirckheimer dated February 7, 1506, where the artist talks about those works of Italians that he liked "eleven years ago", but now don't like it anymore. Supporters of the version of the first trip to Italy also pay attention to the memoirs of the Nuremberg lawyer Christoph Scheirl, who in his Book in Praise of Germany (1508) calls Dürer's visit to Italy in 1506 "the second". All undated landscape sketches by Durer, which became the first in the visual arts Western Europe watercolors in this genre, belong to the supporters of the version specifically to the Italian journey of 1493 / 1494-1495. Later, Dürer uses these motifs, as well as studies of the environs of Nuremberg, in his engravings:27.

Getting started on your own

IN last decade In the 15th century, the artist created several pictorial portraits: his father, the merchant Oswald Krehl (1499, Alte Pinakothek, Munich), the Saxon elector Frederick III (1494/97) and a self-portrait (1498, Prado, Madrid). One of Dürer's best and most significant works between 1494/5 and 1505 (the artist's supposed first and second travels to Italy) is considered to be The Adoration of the Magi, written by Dürer for Frederick III. Somewhat earlier, Dürer, probably with assistants, completed the Seven Sorrows polyptych for the Elector of Saxony (about 1500).

Venice

Nuremberg 1506-1520

Altar of Landauer. 1511. Museum of Art History. Vein

In 1509, Dürer was elected a named member of the Great Council of Nuremberg, it is possible that in this capacity he took part in art projects cities. In the same year, he bought a house in Zisselgasse (now the Dürer House Museum): 8.

In 1511, Dürer, commissioned by the Nuremberg merchant Matthias Landauer, painted the altarpiece "Adoration of the Holy Trinity" ("Landauer Altarpiece", Kunsthistorisches Museum, Vienna): 106-107. The iconographic program of the altar, which consisted of a picture and a wooden carved frame made by an unknown Nuremberg master, in the upper part of which the scene of the Last Judgment was carved, was developed by Dürer. It was based on Augustine's treatise "On the City of God". In 1585, when Rudolf II purchased the painting by Dürer, the frame remained in Nuremberg:106. Despite his success and established fame (Jakob Wimpfeling in his German History wrote that Dürer's paintings are valued in Italy "... as highly as the paintings of Parrasius and Apelles"), the artist nevertheless realizes that he is not able to change the attitude their customers, who, according to a tradition rooted in Germany, considered the painter to be just a craftsman. So, judging by the letters to Jakob Geller, for whom Dürer performed the altarpiece "Ascension of Mary", this Frankfurt merchant was dissatisfied with the increase in the terms of work, and the artist had to explain that a work of high quality, unlike ordinary paintings, requires more time. Geller was eventually satisfied with the work done, but the reward received for it by Dürer barely covered the cost of the materials used.

Dürer focused his efforts on achieving the highest skill in engraving, seeing this as the right path to recognition and material well-being:7 . Even before the trip to Venice, Dürer's main income was the proceeds from the sale of engravings. The implementation was carried out by the artist's mother and wife at the fairs in Nuremberg, Augsburg and Frankfurt am Main. Dürer's engravings were sent to other cities and countries along with the goods of the merchants Imhof and Tucher.

From 1507 to 1512, Dürer made many engravings to order, as well as a series of religious engravings (Life of Mary, Great Passion, Small Passion, Passion on copper), intended for sale. In 1515-1518, Durer tries to work in a new technique at that time - etching. Since acids for etching copper were not yet known at that time, Dürer performed etchings on iron boards. A little earlier, in 1512, Dürer used such a type of engraving as “ drypoint”, but soon left it.

In the summer of 1518, Dürer represented the city of Nuremberg at the Reichstag in Augsburg, where he painted portraits of Maximilian I, Jacob Fugger and others. famous members congress.

Works for Maximilian I

A. Durer. Portrait of Maximilian I

Since 1512, Emperor Maximilian I has become the main patron of the artist. By that time, having become a well-known master of engraving, Dürer, together with the students of his workshop, took part in work on the order of the emperor: “Arc de Triomphe”, a monumental woodcut (3.5 x 3 m), compiled from prints from 192 boards: 8. The grandiose composition, conceived and realized in honor of Maximilian, was intended to decorate the wall. Ancient Roman triumphal arches served as a model for it. Pirckheimer and Johann Stabius (idea and symbols), court painter Jörg Kölderer, engraver Hieronymus Andrea took part in the development of this project: 76 . In addition to the "Arc de Triomphe", Marx Treitzsaurwein developed the engraving project "Triumphal Procession", woodcuts for it were made by Dürer together with Albrecht Altdorfer and Hans Springinklee. In 1513, the artist, together with other leading German masters, took part in illustrating (pen drawings) one of the five copies of The Emperor Maximilian's Prayer Book. The financial difficulties constantly experienced by the emperor did not allow him to pay off Durer on time. Maximilian offered the artist exemption from city taxes, but this was opposed by the Council of Nuremberg. Dürer also received a letter from Maximilian (Freibrief), which protected his woodcuts and copper engravings from copying. In 1515, at the request of Dürer, the emperor granted him a lifetime pension of 100 guilders per year, from the amounts contributed by the city of Nuremberg to the imperial treasury.

Dürer and the Reformation

In 1517, Dürer joined the circle of the Nuremberg reformers, headed by the Augustinian vicar Johann Staupitz and his colleague Wenceslas Link. Acquaintance with the writings of Martin Luther, which, according to the artist, “helped him a lot” ( der mir aus großen engsten geholfen hat) probably occurred around 1518. The artist maintained relations with prominent figures of the Reformation: Zwingli (whose teaching he became interested in for some time), Karlstadt, Melanchthon, Cornelius Grapheus, Nicholas Kratzer. Already after Dürer's death, Pirckheimer, remembering his friend, spoke of him as a "good Lutheran". At the beginning of 1518, Dürer sent Luther his engravings, the artist hoped to engrave a portrait of Luther himself, but their personal meeting never took place. In 1521, when a false rumor spread that Luther had been captured after the Diet of Worms, Dürer wrote in his Diary of a Journey to the Netherlands: “Oh God, if Luther is dead, who will henceforth so clearly expound the holy gospel to us?” Dürer adhered to the views of the "iconoclasts", who opposed the deification of "miraculous" images, however, as is clear from the "Dedication to Pirckheimer" in the treatise "Guide to Measurement ...", he did not insist that works of art be removed from churches.

IN later works Durer, some researchers find sympathy for Protestantism. For example, in the engraving The Last Supper (1523), the inclusion of the Eucharistic chalice in the composition is considered to be an expression of the Calixtine idea, although this interpretation has been questioned. The delay in the release of the engraving "Saint Philip", completed in 1523 but not printed until 1526, may have been due to Dürer's doubts about the images of the saints; even if Dürer was not an iconoclast, he reassessed the role of art in religion in the last years of his life.

Trip to the Netherlands

A. Durer. Erasmus portrait. Paper, black chalk. OK. 1520

On October 4, 1520, Charles V confirmed Dürer's right to a pension of 100 guilders a year. Entries in the "Diary" on this end. The way back, judging by the sketches in the travel album, the artist did along the Rhine and the Main. The artist returned to Nuremberg in July 1521.

Last years

Dürer's grave in John's cemetery in Nuremberg

At the end of his life, Dürer worked a lot as a painter, during this period he created the most profound works in which familiarity with Dutch art is manifested. One of the most important paintings of recent years is the Four Apostles diptych, which the artist presented to the City Council in 1526. Among the researchers of Dürer's work, there are disagreements in the interpretation of this diptych - some, following the calligrapher Johann Neidörfer ( ), who completed the inscriptions on the painting on the artist’s instructions (quotes from the Bible in Luther’s translation), see in the Four Apostles only images of four temperaments, others see the master’s response to religious disagreements that shook Germany and reflect the idea of ​​“inconsistency between humanistic utopia and reality”: 105 .

In the Netherlands, Dürer fell victim to an unknown disease (possibly malaria), from which he suffered until the end of his life:92. Symptoms of the disease - including a severe enlargement of the spleen - he reported in a letter to his doctor. Dürer drew himself pointing to the spleen, in the explanation to the drawing he wrote: "Where there is a yellow spot, and what I point my finger at, it hurts me there."

Before last days Dürer was preparing for publication his theoretical treatise on proportions. Albrecht Dürer died on April 6, 1528 in his homeland in Nuremberg:11.

Durer's magic square

Fragment of Durer's engraving "Melancholy"

Dürer's "Magic Square" remains complex riddle. If we consider the middle squares of the first vertical, it is striking that changes have been made to them - the numbers have been corrected: 6 is corrected for 5, and 9 is obtained from 5. Undoubtedly, Dürer did not accidentally enrich his "magic square" with such details that cannot be overlooked.

Star and geographic maps of Dürer

Drawings

"Guide to measuring with a compass and straightedge"

Some of the other sections of the short plan (problems of depicting architecture, perspective and chiaroscuro) were included in the treatise "Guide to measuring with a compass and ruler" ( Vnderweysung der messung mit dem zirckel vnd richtscheyt, published in 1525, the second edition with Dürer's amendments and additions was published in 1538) :11.

"Guide to the fortification of cities, castles and gorges"

In the last years of his life, Albrecht Dürer paid much attention to the improvement of defensive fortifications, which was caused by the development firearms, as a result of which many medieval structures became ineffective. In his work "Guide to the strengthening of cities, castles and gorges", released in 1527, Dürer describes, in particular, fundamentally new type fortifications, which he called the bastei. The creation of a new theory of fortification, according to Dürer himself, was due to his concern for protecting the population "from violence and unjust oppression." According to Durer, the construction of fortifications will give work to the disadvantaged and save them from hunger and poverty. At the same time, he noted that the main thing in defense is the stamina of defenders.

Memory

Comments

Notes

1. Russian humanitarian encyclopedic dictionary. Woodcut
2. Albrecht Dürer // One hundred most influential painters and sculptors of the Renaissance. - Britannica Educational Publishing. - The Rosen Publishing Group, 2009. - 376 p. - ISBN 9781615300433
3. Golovin V. Durer and the German Renaissance // M. Brion. Durer. - M .: Young Guard, 2006. - S. 9. - (Life of wonderful people).
4. Bartrum D. Dürer / Per. from English. - M .: Niola-Press, 2010. - 96 p. - (From the collection of the British Museum). - 3000 copies. - ISBN 978-5-366-00421-3
5. Durer A. literary heritage Durer // Treatises. Diaries. Letters / Translated by Nesselstrauss Z. . - M .: Art, 1957. - T. 1.
6. Nemirovsky E. Book world. From ancient times to the beginning of the 20th century / Reviewers A. A. Govorov, E. A. Dinershtein, V. G. Utkov. - Moscow: Book, 1986. - 50,000 copies.
7. Giulia Bartrum, "Albrecht Dürer and his Legacy", British Museum Press, 2002, ISBN 0-7141-2633-0
8. Rebel E. Albrecht Dürer, Maler und Humanist. - C. Bertelsmann, 1996. - S. 457.
9. Benois A. The history of painting of all times and peoples. - St. Petersburg. : Neva Publishing House, 2002. - Vol. 1. - S. 307. - 544 p. - ISBN 5-7654-1889-9
10. , With. thirty
11. Dürers Familienwappen (German). Museum Kloster Asbach. Archived from the original on May 30, 2012. Retrieved March 19, 2012.
12. Wolflin H. Die Kunst Albrecht Durers. - München: F Bruckmann, 1905. - S. 154-55.
13. Costantino Porcu (ed), Dürer, Rizzoli, Milan 2004. p. 112
14. Zuffy S. Large atlas of painting. art 1000 years / Scientific editor S. I. Kozlova. - Moscow: OLMA-PRESS, 2002. - ISBN 5-224-03922-3
15. Koroleva A. Durer. - M .: Olma Press, 2007. - S. 82. - 128 p. - (Gallery of geniuses). - ISBN 5-373-00880-X
16. Wipper B. Articles about art / Enter. article by G. N. Livanova. - M .: Art, 1970. - S. 107. - 591 p.
17. Rupprich H. Durer: Schrifilicher Nachlass, 3 vols. - Berlin: Deutscher Verein fur Kunstvvissenschaft, 1956-69. - T. 1. - S. 221.
18. Pirckheimer's letter to the architect Johann Cherte
19. Strauss, Walter L. (Ed.). The Complete Engravings, Etchings and Drypoints of Albrecht Durer. Dover Publications, 1973.

Albrecht Dürer was born in Nuremberg on May 21, 1471. His father moved from Hungary in the middle of the 15th century and was known as the best jeweler. There were eighteen children in the family, future artist born third.

Durer from the very early childhood helped dad in the workshop jewelry work and he laid on his son big hopes. But these dreams were not destined to come true, because Dürer Jr.'s talent manifested itself early, and his father resigned himself that the child would not become a jewelry master. At that time, the workshop of the Nuremberg artist Michael Wolgemuth was very popular and had impeccable reputation, which is why Albrecht was sent there at the age of 15. Wolgemuth was not only an excellent artist, but also skillfully worked on engraving on wood, copper, and perfectly conveyed his knowledge to a diligent student.

Having finished his studies in 1490, Dürer painted his first painting “Portrait of the Father” and went on a journey in order to learn from other masters and gain new impressions. He visited many cities in Switzerland, Germany and the Netherlands, raising his level in fine arts. Once in Colmar, Albrecht had the opportunity to work in the studio of the famous painter Martin Schongauer, but he did not have time to meet the famous artist in person, because Martin had died a year earlier. But amazing creativity M. Schongauer greatly influenced the young artist and was reflected in new paintings in a style unusual for him.

While in Strasbourg, in 1493, Dürer received a letter from his father, where he reported on the agreement of his son's marriage to a friend's daughter. Returning to Nuremberg, the young artist married Agnes Frey, the daughter of a coppersmith, mechanic and musician. Thanks to his marriage, Albrecht increased his social status and could now have his own business, since his wife's family was respected. The artist painted in 1495 a portrait of his wife called "My Agnes". A happy marriage cannot be called, because the wife was not interested in art, but they lived together until their death. The couple were childless and left no offspring.

Popularity outside of Germany came to Albrecht with the help of copper and wood engravings in in large numbers copies when he returned from Italy. The artist opened his own workshop, where he published engravings, in the very first series Anton Koberger was his assistant. In his native Nuremberg, the masters had great freedom, and Albrecht applied new techniques in creating engravings and began to sell them. The talented painter collaborated with famous masters and performed works for the famous Nuremberg publications. And in 1498, Albrecht completed woodcuts for the publication of the Apocalypse and already gained European fame. It was during this period that the artist joined the circle of Nuremberg humanists, which was headed by Kondrat Celtis.

After that, in 1505, in Venice, Dürer was met and received with respect and honor, and the artist performed the altar image “Feast of the Rosary” for the German church. Acquainted here with Venetian school, the painter changed his manner of work. Albrecht's work was highly appreciated in Venice, and the council offered money for maintenance, but talented artist yet he left for his hometown.

The fame of Albrecht Dürer increased every year, his works were respected and recognizable. In Nuremberg, he bought for himself a huge house in Zisselgasse, which can be visited today, there is the Dürer House Museum. Having met with the Emperor of the Holy Roman Empire Maximilian I, the artist showed two portraits of his predecessors, drawn in advance. The emperor was delighted with the paintings and immediately ordered his portrait, but could not pay on the spot, so he began to pay a decent bonus to Durer every year. When Maximilian died, they stopped paying the prize, and the artist went on a journey to restore justice, but he did not succeed. And at the end of the trip, Albrecht fell ill unknown disease, possibly malaria, and suffered from seizures for the remaining years.

During the last years of his life, Dürer worked as a painter, one of the important paintings is considered to be presented to the City Council "Four Apostles". Researchers works famous artist come to disagreement, someone sees four temperaments in this picture, and someone sees Durer's response to disagreements in religion. But Albrecht took his thoughts on this matter to the grave. Eight years after the illness, A. Dürer died on April 6, 1528 in the city where he was born.

Albrecht Dürer was born into a large family of a jeweler, he had seventeen brothers and sisters. In the 15th century, the profession of a jeweler was considered very respectful, so the father tried to teach his children the craft that he practiced. But Albrecht's talent for art manifested itself at a fairly early age, and his father did not dissuade him, on the contrary, at the age of 15 he sent his son to the famous Nuremberg master Michael Wolgemut. After 4 years of training with the master, Durer went to travel and at the same time painted his first independent painting, "Portrait of a Father." During his travels, he honed his skills with different masters V different cities. Consider the most famous paintings of Albrecht Dürer recognized by the world community.

This painting by Durer caused a lot of condemnation, both among the artist's contemporaries and modern art critics. It's all about the pose in which the author painted himself and the hidden message conveyed through the details. At the time of the artist in full face or close to it, it was possible to draw only saints. The holly in the artist's hand is a message to the crown of thorns, which was placed on the head of Christ at the crucifixion. The inscription at the top of the canvas reads "My deeds are determined from above", this is a reference to the author's devotion to God, and that all his achievements, at this stage of life, are with the blessing of the Lord. This picture, stored in the Louvre, is estimated as having made certain changes in the human worldview.

With age, Dürer went even further in reflecting his experiences on canvas. For this impudence, his contemporaries severely criticized the artist. On this canvas, he painted his self-portrait in full face. Whereas even more recognized contemporaries could not afford such audacity. In the portrait, the author looks straight ahead and holds his hand in the middle of his chest, which is typical for the reflections of Christ. Detractors found all the similarities in Dürer's painting and reproached him for comparing himself with Christ. Looking at the picture, someone can agree with the critics, and someone can see something more. There are no objects that attract attention in the picture, which makes the viewer focus on the image of a person. Those who have seen the picture consider the gamut of feelings on the face and image of the depicted person.

The portrait, painted in 1505, is considered to be a Venetian-directed work by Dürer. It was during this period that he stayed in Venice for the second time and honed his skills with Giovanni Bellini, with whom he eventually became friends. Who is depicted in the portrait is not known, some suggest that this is a Venetian courtesan. Since there is no information about the artist's marriage, there are no other versions about the person who posed. The painting is kept at the Kunsthistorisches Museum in Vienna.

The painting was commissioned by the patron Dürer for the Church of All Saints in Wittenberg. Because of the relics of some of the ten thousand martyrs in the church. religious history familiar to many believers, about the beating of Christian soldiers on Mount Ararat, is reflected in all details. In the center of the composition, the author drew himself with a flag on which he wrote the time of writing and the author of the picture. Next to him is a friend of Dürer, the humanist Konrad Celtis, who died without waiting for the painting to be completed.

Durer's most recognizable painting was painted for the San Bartholomew Church in Italy. The artist painted this picture for several years. The picture is saturated with bright colors, as this trend was becoming popular at that time. The painting was named so because of the plot reflected in it, the Dominican monks who used rosaries in their prayers. In the center of the picture is the Virgin Mary with the Christ child in her arms. Surrounded by worshipers, including Pope Julian II and Emperor Maximilian I. Baby - Jesus distributes wreaths of roses to everyone. Dominican friars used a rosary of strictly white and red colors. White symbolizes the joy of the Virgin, red blood of Christ at the crucifixion.

Another very famous picture Durer was copied many times, printed on postcards, stamps and even coins. The history of the picture is striking in its symbolism. The canvas depicts not just the hand of a pious person, but Dürer's brother. Even in childhood, the brothers agreed to take turns painting, since fame and wealth from this craft does not come immediately and not to everyone, one of the brothers had to ensure the existence of the other. Albrecht was the first to take up painting, and when his brother's turn came, his hands had already lost the habit of painting, he could not write. But Albrecht's brother was a pious and humble man, he was not upset with his brother. These hands are reflected in the picture.

Dürer depicted his patron several times on different pictures, but the portrait of Maximilian the first became one of the world-famous paintings. The emperor is depicted, as befits monarchs, rich robes, a haughty look, and arrogance breathes from the picture. As in other paintings of the artist, there is a kind of symbol. The emperor holds in his hand a pomegranate, a symbol of abundance and immortality. A hint that it is he who provides the people with prosperity and fertility. The grains visible on a peeled piece of pomegranate are a symbol of the versatility of the emperor's personality.

This engraving by Dürer symbolizes a person's path through life. A knight dressed in armor is a man protected by his faith from temptations. Death walking nearby is depicted with an hourglass in his hands, indicating the result at the end of the allotted time. The devil walks behind the knight, depicted as some kind of miserable creature, but ready to pounce on him at the slightest opportunity. It all comes down to eternal struggle good with evil, fortitude before temptations.

The most famous engraving of Durer from his 15 works on the theme of the Biblical Apocalypse. The Four Horsemen are Victor, War, Famine and Death. Hell following them is depicted in the engraving as a beast with its mouth open. As in the legend, the horsemen rush, sweeping away everyone in their path, both poor and rich, and kings and ordinary people. A reference to the fact that everyone gets what they deserve, and everyone will answer for sins.

The picture was painted during the return of Dürer from Italy. The picture intertwines German attention to detail and brilliance, the brightness of colors characteristic of the Italian Renaissance. Attention to lines, mechanical subtleties and details makes reference to the sketch work of Leonardo da Vinci. In this world-famous painting, described in some detail in Bible stories the scene, transferred to the canvas in colors, leaves the impression that this is exactly how it happened.

Albrecht Dürer (German Albrecht Dürer, May 21, 1471, Nuremberg - April 6, 1528, Nuremberg) - German painter and graph, one of the greatest masters Western European Renaissance. Recognized as the largest European master of woodcuts, who raised it to the level of real art. The first art theorist among the North European artists, author of a practical guide to the fine and decorative arts in German, who advocated the need diversified development artists. Founder of comparative anthropometry. The first European artist to write an autobiography.

Biography of Albrecht Dürer

The future artist was born on May 21, 1471 in Nuremberg, in the family of the jeweler Albrecht Dürer, who arrived in this German city from Hungary in the middle of the 15th century, and Barbara Holper. The Dürers had eighteen children, some, as Dürer the Younger himself wrote, died "in their youth, others when they grew up." In 1524, only three of the Durer children were alive - Albrecht, Hans and Endres.

The future artist was the third child and the second son in the family. His father, Albrecht Dürer the Elder, literally translated his Hungarian surname Aytosi (Hungarian Ajtósi, from the name of the village of Aytosh, from the word ajtó - “door.”) into German as Türer; subsequently it was transformed under the influence of the Frankish pronunciation and began to be written Dürer. Albrecht Dürer the Younger remembered his mother as a pious woman who lived a difficult life. Possibly weakened by her frequent pregnancies, she was sick a lot. Dürer's godfather was the famous German publisher Anton Koberger.

For some time, the Dürers rented half of the house (next to the city's central market) from the lawyer and diplomat Johann Pirckheimer. Hence the close acquaintance of two families belonging to different urban classes: the Pirckheimer patricians and the Durer artisans. With the son of Johann, Willibald, one of the most enlightened people in Germany, Dürer the Younger was friends all his life. Thanks to him, the artist later entered the circle of Nuremberg humanists, whose leader was Pirkheimer, and became his own person there.

From 1477 Albrecht attended a Latin school. At first, the father attracted his son to work in a jewelry workshop. However, Albrecht wished to paint. The elder Dürer, despite regretting the time spent on teaching his son, yielded to his requests, and at the age of 15 Albrecht was sent to the workshop of the leading Nuremberg artist of that time, Michael Wolgemuth. This was told by Dürer himself in the "Family Chronicle", created by him at the end of his life, one of the first autobiographies in the history of Western European art.

Wolgemut Dürer mastered not only painting, but also engraving on wood. Wolgemuth, together with his stepson Wilhelm Pleidenwurff, made engravings for Hartmann Schedel's Book of Chronicles. In the work on the most illustrated book of the 15th century, which experts consider the Book of Chronicles, Wolgemut was helped by his students. One of the engravings for this edition, "Dance of Death", is attributed to Albrecht Dürer.

Creativity Altdorfer

Painting

Albrecht, who had dreamed of painting since childhood, insisted that his father send him to study as an artist. After the first trip to Italy, he still did not fully accept the achievements Italian masters, but in his works one can already feel an artist who thinks outside the box, always ready to search. The title of master (and with it the right to open his own workshop) Dürer received, probably, having completed the paintings in the "Greek manner" in the house of the Nuremberg citizen Sebald Schreyer. The young artist was noticed by Frederick the Wise, who instructed him, among other things, to paint his portrait. Following the Elector of Saxony, the Nuremberg patricians also wished to have their images - at the turn of the century, Dürer worked a lot in portrait genre. Here Dürer continued the tradition that had developed in painting Northern Europe: the model is presented in a three-quarter spread against the background of the landscape, all the details are depicted very carefully and realistically.

After the publication of the Apocalypse, Dürer became famous in Europe as a master of engraving, and only during his second stay in Italy received recognition as a painter abroad. In 1505, Jakob Wimpfeling wrote in his German History that Dürer's paintings are valued in Italy "...as highly as the paintings of Parrhasius and Apelles." The works completed after a trip to Venice demonstrate Dürer's success in solving the problems of depicting the human body, including the nude, complex angles, and characters in motion. Disappears characteristic of him early works gothic angularity. The artist relied on the execution of ambitious painting projects, taking orders for multi-figured altarpieces. The works of 1507-1511 are distinguished by a balanced composition, strict symmetry, “some rationality”, and a dry manner of depiction. Unlike his Venetian works, Dürer did not seek to convey the effects of the light-air environment, he worked with local colors, possibly yielding to the conservative tastes of his customers. Received by Emperor Maximilian into the service, he received some material independence and, leaving painting for a while, turned to scientific research and engraving work.

self-portraits

The name of Dürer is associated with the formation of the North European self-portrait as independent genre. One of best portrait painters of his time, he highly valued painting for the fact that it allowed to preserve the image specific person for future generations. Biographers note that, having an attractive appearance, Dürer especially liked to portray himself in his youth and reproduced his appearance not without "a vain desire to please the viewer." A picturesque self-portrait for Durer is a means to emphasize his status and a milestone marking a certain stage in his life. Here he appears as a man standing in intellectual and spiritual development above the level that was determined by his class position, which was uncharacteristic for self-portraits of artists of that era. In addition, he once again affirmed the high importance of fine art (unfairly, as he believed, excluded from the "seven liberal arts”) at a time when in Germany it was still considered a craft.

Drawings

About a thousand (Julia Bartrum says about 970) of Durer's drawings have survived: landscapes, portraits, sketches of people, animals and plants. Evidence of how carefully the artist treated the drawing is the fact that even his student works have survived. Durer's graphic heritage, one of the largest in the history of European art, is on a par with the graphics of da Vinci and Rembrandt in terms of volume and significance. Free from the arbitrariness of the customer and his desire for the absolute, which introduced a share of coldness into his paintings, the artist was most fully revealed as a creator in the drawing.

Dürer tirelessly exercised in layout, generalization of particulars, construction of space. His animalistic and botanical drawings are distinguished by high craftsmanship, observation, fidelity in the transfer of natural forms, characteristic of a natural scientist. Most of them are carefully worked out and are finished works, however, according to the custom of the artists of that time, they served as auxiliary material: Dürer used all his studies in engravings and paintings, repeatedly repeating the motifs of graphic works in major works. At the same time, G. Wölfflin noted that Dürer transferred almost nothing from the truly innovative discoveries he made in landscape watercolors to his paintings.

Durer graphics done various materials, often he used them in combination. He became one of the first German artists to work with white brush on colored paper, popularizing this Italian tradition.

Bibliography

• Bartrum D. Dürer / Per. from English. - M.: Niola-Press, 2010. - 96 p. - (From the collection british museum). - 3000 copies. - ISBN 978-5-366-00421-3.
• Benois A. History of painting of all times and peoples. - St. Petersburg: Neva Publishing House, 2002. - T. 1. - S. 297-314. - 544 p. - ISBN 5-7654-1889-9.
• Berger J. Durer. - M.: Art-Rodnik, 2008. - 96 p. - 3000 copies. - ISBN 978-5-88896-097-4.
• Albrecht Durer. Engravings / Prev. A. Bore, approx. A. Bore and S. Bon, trans. from fr. A. Zolotova. - M.: Magma LLC, 2008. - 560 p. - 2000 copies. - ISBN 978-593428-054-4.
• Brion M. Durer. - M .: Young Guard, 2006. - (Life of wonderful people).
• Zuffi S. Big atlas of painting. Fine arts 1000 years / Scientific editor S. I. Kozlova. - M.: OLMA-PRESS, 2002. - S. 106-107. - ISBN 5-224-03922-3.
• Durus A. Heretic Albrecht Dürer and three "godless artists" // Art: magazine. - 1937. - No. 1.
• Zarnitsky S. Durer. - M .: Young Guard, 1984. - (Life of wonderful people).
• Nemirovsky E. The world of the book. From ancient times to the beginning of the 20th century / Reviewers A. A. Govorov, E. A. Dinershtein, V. G. Utkov. - M.: Book, 1986. - 50,000 copies.
• Lvov S. Albrecht Durer. - M.: Art, 1984. - (Life in art).
• Liebman M. Durer and his era. - M.: Art, 1972.
• Koroleva A. Durer. - M.: Olma Press, 2007. - 128 p. - (Gallery of geniuses). - ISBN 5-373-00880-X.
• Matvievskaya G. Albrecht Durer - scientist. 1471-1528 / Rev. ed. cand. Phys.-Math. Sciences Yu. A. Bely; Reviewers: acad. Academy of Sciences of the Uzbek SSR V. P. Shcheglov, Dr. Phys.-Math. Sciences B. A.
• Rosenfeld; USSR Academy of Sciences. - M.: Nauka, 1987. - 240, p. - (Scientific and biographical literature). - 34,000 copies. (in trans.)
• Nevezhina V. Nuremberg engravers of the 16th century. - M., 1929.
• Nesselstrauss C. Dürer's Literary Heritage // Dürer A. Treatises. Diaries. Letters / Translated by Nesselshtraus Ts .. - M .: Art, 1957. - T. 1.
• Nesselstrauss Ts. Dürer's drawings. - M.: Art, 1966. - 160 p. - 12,000 copies.
• Nesselstrauss Z. Durer. - M.: Art, 1961.
• Norbert W. Durer. - M.: Art-Rodnik, 2008. - 96 p. - 3000 copies. - ISBN 978-5-9794-0107-2.
• Sidorov A. Durer. - Izogiz, 1937.
• Chernienko I. Germany at the turn of the 15th-16th centuries: the era and its vision in the work of Albrecht Dürer: abstract of the thesis for the degree of candidate historical sciences: 07.00.03. - Perm, 2004.

A. Durer (1471-1528) - great german artist, and in the last years of his life and art theorist. His biography and work are closely connected with the Renaissance. The works of Albrecht Dürer still attract many connoisseurs of painting today. Do you want to know more about it? The life and work of Albrecht Dürer are presented in this article.

short biography

His father was a native of Hungary, a silversmith. Albrecht studied first with his father and then with Michael Wohlgemuth, a painter and engraver from Nuremberg. 1490-1494 - "years of wandering", mandatory in order to obtain the title of master. Albrecht spent this time in the cities of the Upper Rhine (Strasbourg, Colmar, Basel). Here he entered the circle of printers and humanists. It is known that Dürer wanted to improve in engraving on metal with M. Schauer in Colmar, but did not find him alive. Then Albrecht began to study the work of this master, communicating with his sons, who were also artists.

In 1494 Albrecht Dürer returned to Nuremberg. His biography and work were noted at this time important events. It was then that the marriage to Agnes Frey took place, as well as the opening of her own workshop. After some time, Albrecht decided to make a new journey, this time choosing Northern Italy. He traveled to Padua and Venice in 1494-95. Dürer traveled to Venice in 1505 and stayed there until 1507. Albrecht's acquaintance with I dates back to 1512. Apparently, at the same time, Dürer began to work for him, until the death of Maximilian, which occurred in 1519. It is known that Albrecht also visited the Netherlands. In the period from 1520 to 1521 he visited such cities as Brussels, Antwerp, Ghent, Bruges, Malin and others.

Creativity Dürer

And whose work coincides with the heyday of the German Renaissance, could not stay away from the trends of his time. It was a difficult, largely disharmonious period. His character left an imprint on all kinds of art. The revival in Albrecht's work accumulates the originality and richness of German artistic traditions. They appear in the guise of Dürer's characters, far from beauty from the point of view of the classical ideal. In addition, the master prefers everything sharp, pays great attention to individual details. At the same time, contact with the art of Italy is of great importance for Albrecht. The work of Albrecht Dürer is marked by the fact that he tried to comprehend the secret of his perfection and harmony. Durer is the only representative who, in terms of the versatility and orientation of interests, the desire to comprehend the laws of art, to create the perfect proportions of the human figure, can be put on a par with the great masters of the Italian Renaissance.

Drawings

The work of Albrecht Dürer is diverse. He was gifted as a draftsman, engraver and painter. At the same time, engraving and drawing sometimes even occupy a leading place with him. More than 900 sheets are the legacy of Dürer the draftsman. In terms of diversity and vastness, it can only be compared with the works of Leonardo da Vinci. Apparently drawing was part of Everyday life masters. Dürer mastered all graphic techniques of that time - from charcoal, watercolor, Italian pencil to reed pen and silver pin. As for the Italian masters, the drawing became for Dürer milestone creating a composition. This stage included studies, sketches of heads, legs, arms, draperies.

For Dürer, drawing was a tool with which he studied characteristic types- Nuremberg fashionistas, smart gentlemen, peasants. The famous works of Albrecht Dürer are the watercolors of the master "Hare" (pictured above) and "Piece of Sod". They are made with a cold detachment and such intentness that they could become illustrations for scientific codes.

Landscape Series

The first significant work of the master is a series of landscapes of 1494-95. These works by Albrecht Dürer were made in watercolor and gouache during his trip to Italy. They are carefully balanced, thoughtful compositions, with spatial plans smoothly alternating with each other. These works by Albrecht Dürer are the first "pure" landscapes in the history of European art.

"Christmas", "Adoration of the Magi", "Adam and Eve"

A clear, even mood, the author's desire for a harmonic balance of rhythms and forms - that's characteristics painting by Dürer from the end of the 15th century to the beginning of the second decade of the 16th century. These are the "Nativity" altarpiece, made around 1498, and the work "The Adoration of the Magi" dating back to 1504, in which Dürer unites a group of three Magi and the Madonna with smooth silhouettes, a calm circular rhythm, as well as an arch motif that is repeated repeatedly in the architectural scenery. In the 1500s, one of the main themes of Albrecht's work was the desire to find ideal proportions human body. He seeks their secrets by painting nude female and male figures. Note that it was Albrecht who was the first in Germany to study the nude. These searches were summarized in the 1504 engraving "Adam and Eve", as well as in a large pictorial diptych made around 1507 of the same name.

"Adoration of the Holy Trinity" and "Feast of the Rosary"

The most complex works, harmoniously ordered pictorial compositions of many figures, were completed already in the years creative maturity Albrecht Durer. Notable works it includes the Feast of the Rosary created in 1506, and in 1511 the Adoration of the Holy Trinity. "The Feast of the Rosary" is one of Dürer's largest works (161.5 x 192 cm). In addition, this is one of the most major intonation paintings. The work is close to the art of the masters of Italy not only in motives, but also in its life force, the fullness of colors, the fullness of images (mostly portraits), the balance of the composition, the breadth of writing. In the painting entitled "The Adoration of the Holy Trinity", which is a small altar work, rhythmic semicircles, which echo the arched completion of the altar, unite the angels soaring in heaven, the fathers of the Church and the host of saints. This painting is reminiscent of Raphael's Dispute.

early portraits

Without portraits, it is difficult to imagine the work of Albrecht Dürer. His paintings in this genre are numerous and very interesting. Albrecht is already early work, made around 1499 (portrait of Oswald Krehl) appears to be an established master. He conveys well internal energy models, originality of character. The uniqueness of Albrecht Dürer lies in the fact that the self-portrait occupies a leading place in early period his portrait art. Back in 1484, he created the silver point drawing presented at the beginning of the article. Here Albrecht is depicted as a 13-year-old child. Already at that time, Dürer's hand was guided by a craving for self-knowledge, which received further development in his first three pictorial self-portraits. We are talking about the works of 1493, 1498 and 1500. In the last work (its photo is presented above), Albrecht is depicted strictly in front. Framed by a small beard and his long hair right face reminds us of images of Christ the Pantocrator.

Engravings

The work of Albrecht Dürer (1471-1528) is interesting in that he performed engravings equally successfully on both copper and wood. Albrecht turned engraving, following Schongauer, into one of the main forms of art. In the works of Dürer, the restless, restless spirit of his creative nature was expressed, as well as the dramatic moral collisions that worried him. A sharp contrast to the clear and calm early paintings of the master was already the first large-scale graphic series, consisting of 15 engravings on the themes of the Apocalypse. These woodworks were created by Albrecht in 1498. Dürer in his engravings is much more than in paintings, based on German traditions. They manifest themselves in the tension of angular, sudden movements, excessive expression of images, the rhythm of swirling, swift lines and breaking folds. The image of Fortuna from the engraving "Nemesis", dating back to the beginning of the 1500s, has a formidable character. This engraving is one of the the best works Durer.

"Life of Mary", "Great Passions" and "Small Passions"

In the graphic cycle "The Life of Mary", created around 1502-05, the author's interest in genre details is noticeable, as well as an abundance of details - features characteristic of the German artistic tradition. This graphic cycle is the most clear and calm in mood. The other two, dedicated to the passion of Christ, are distinguished by dramatic expression. These are the "Great Passions" made on wood (about 1498-1510), as well as two series of engravings on copper "Small Passions" (the years of creation - 1507-13 and 1509-11). These works by Dürer were best known among his contemporaries.

Triptych 1513-1514

An engraving of 1513 "Knight, Death and the Devil", as well as two works of 1514 ("Jerome in a cell" and "Melancholy") occupy important place in the legacy of Albrecht. They form a kind of triptych. These works are made by the master with virtuoso subtlety. They are distinguished by a rare figurative concentration and conciseness. Apparently, Dürer did not intend to create them as single cycle. Nevertheless, these works are united by a moral and philosophical subtext, which is very complex (many works are devoted to its interpretation today). Apparently, the treatise "Guide of the Christian Warrior" by E. Rotterdam inspired the author with the image of a middle-aged stern warrior who is moving towards an unknown goal, despite the Devil following him on his heels, as well as the threats of Death. The warrior is presented against the backdrop of a rocky wild landscape. The work of Albrecht Dürer is not always easily perceived. Summary the aforementioned treatise is important to know to understand the image of a warrior.

Saint Jerome (pictured above), all gone in scientific studies, is the personification of contemplative life and spiritual introspection. The majestic winged Melancholia, immersed in its gloomy reflection, is presented against the backdrop of a chaotic heap of symbols of the fleeting time and sciences, tools of the craft.

It is usually interpreted as the personification of the creative, restless spirit of a person. Note that the humanists of the Renaissance found in people with a melancholy temperament, the "divine obsession" of genius, the embodiment creativity. Therefore, it can be said that within general trend There is also the work of Albrecht Dürer. Let us briefly characterize his later works.

Later works

Dürer worked at the court of Maximilian I after 1514 (above is his portrait by Albrecht). At this time, Albrecht Dürer carried out many official orders. The works he created required great skill, but the most laborious of them was a colored lithograph made on 192 boards. This work is called "Arch of Maximilian I". She worked on its creation, except for Durer, large group artists. After a trip to the Netherlands, made in 1520-21, Albrecht began a new creative upsurge. At this time, a lot of cursory sketches appeared. In addition, Albrecht Dürer's works were replenished with a number of beautiful ones. Their list is as follows: made in 1520 with charcoal, as well as the work of 1521 "Luke of Leiden" (made with a silver pencil), "Agnes Dürer", which was created using a metal pencil, etc.

Portraits from the 1520s

Portrait in the 1520s becomes the main genre in the work of Dürer. At this time, Albrecht Dürer created images in copper engraving of the most prominent humanists of his time. The main works are as follows: in 1526 - a portrait of Philip Melanchthon, in 1524 - by Willibald Pirkheim, in 1526 - Erasmus of Rotterdam. In painting in 1521 appears "Portrait young man", in 1524 - "Portrait of a Man", in 1526 - "Hieronymus Holtzschuer" and other works. These small works are distinguished by impeccable composition, classical perfection, and chiselled silhouettes. They are effectively complicated by the outlines of huge velvet berets or wide-brimmed hats. composition center of these works - a close-up face, created by subtle transitions of shadows and light. In barely noticeable facial expressions, in the gaze of wide-open eyes, in the outlines of lips slightly curved in a smile or half-open lips, in the energetic pattern of the cheekbones and the movement of frowning eyebrows, traces of an intense spiritual life can be seen. The fortitude discovered by Albrecht in his contemporaries takes on a large scale in the diptych "Four Apostles" (pictured below), the last painting work masters (1525). It was written by Dürer for the Nuremberg City Hall. Huge figures of the Evangelist Paul, Peter and John are presented, which personify, according to the master's contemporaries, 4 temperaments.

Theoretical works, the meaning of creativity

In the last years of his life, Albrecht published theoretical work: a guide to measuring with a ruler and a compass (in 1525), on strengthening fortresses, castles and cities (1527), and in 1528 the work "Four Books on Human Proportions" appeared. Albrecht Dürer, whose work and fate we have considered, died in Nuremberg on April 6, 1528.

Dürer strongly influenced the development of all German art in the first half of the 16th century. His engravings were also a huge success in Italy - even their fakes were produced. Many Italian artists have been influenced by his work, including Pordenone and Pontormo.