United States or Bhutan ? Vote for the TOP Country of the Week !
It is even visible in the works of their painters and engravers: thus the tracery over the doorway in Durer’s print of “The Crucifixion,” one of his series of the life of the Virgin, while it conforms to the leading principle of architectural design, is composed of branches and leaves which flow with a freedom belonging more to the painter than the architect.
The three years of Dürer’s pupilage having expired, in conformity with the usual German custom, he travelled to see the world and improve himself. Of the early works of his genius we have no certain trace.
The aspect of the whole room is striking, and it is rendered more impressive by the many examples of Dürer’s genius placed within it, as well as of others by his master Wohlgemuth. The woodcuts are framed, and comprise the best examples of both masters; there is also an original drawing on vellum testifying to the minute accuracy of Dürer’s studies.
The alt Feste, where Wallenstein encamped, in his memorable defence of these lines and of the city when besieged by Gustavus Adolphus, of Sweden, and the blue hills known as the Franconian Switzerland, terminating with the Moritzberg, give relief to the otherwise flat vicinity. This tower has been introduced in the background of some of Dürer’s designs, as well as other portions of the castle.
It represents the dead Saviour just removed from the cross, and mourned over by his mother and friends. It is peculiarly brilliant in colour, and there is considerable force in the deep rich draperies with which the figures are clothed, but it has the defect visible in the works of Dürer’s master a love of hard black outlines.
The top of the walls and turrets of the old town, and a small patch of sky, may be seen by an upward glance at the window; but there is no feature to distract the denizen of the apartment: it is a place for concentration of mind, and such must have been Dürer’s habits, as the enormous amount of his works show.
Let us take a walk in that direction. Passing out of the town by the gate opposite Dürer’s house, the sculptured representations of the scenes of Christ’s Passion, by Adam Krafft, already alluded to, will guide our footsteps on our way. Here the burgher aristocracy of Nürnberg have been buried for centuries.
When he lived and worked in his roomy old mansion, Nürnberg was not quite so crowded within its own walls as it has since become by the pressure of modern exigencies; and Dürer’s house appears to have had out-buildings, and, most probably, a small garden, such as was awarded to better-class houses in mediæval times. Dr.
The reputation of Dürer was well-established by these cuts, and gave him a good position in his native town, which he never left afterwards, except for a journey to Venice in 1506, and to the Netherlands in 1520. All Dürer’s tastes were essentially national, if indeed they may not be said to be narrowed within the circle of the town of Nürnberg and its neighbourhood.
Margaret as an example of his style; the somewhat constrained and angular attitude of the right arm carries the mind back to the missal paintings of the previous century; the small, pinched, and confused folds of the drapery, belong to the German school almost entirely; and to it may be traced Dürer’s errors in this particular portion of art.
Word Of The Day