Albrecht Durer: A Guide to Research (Garland Reference by Jane Hutchison, Jane Campbell Hutchison PDF

By Jane Hutchison, Jane Campbell Hutchison

ISBN-10: 0203800591

ISBN-13: 9780203800591

ISBN-10: 020380063X

ISBN-13: 9780203800638

ISBN-10: 0815321147

ISBN-13: 9780815321149

Hutchison's e-book is a whole advisor on Durer and the learn on his paintings, his ancient import and his aesthetic legacy.

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Extra resources for Albrecht Durer: A Guide to Research (Garland Reference Library of the Humanities)

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34 ALBRECHT DÜRER: A GUIDE TO RESEARCH From the papers of the international conference on Titian held in Venice in 1976, honoring the four hundredth anniversary of the artist’s death. Ballarin’s paper deals with the style and chronology of Titian’s work in Venice before the decoration of the new Fondaco dei Tedeschi—that is, between 1506, when Dürer was in residence in the city, until 1511. He examines the succesive influences of Giovanni Bellini, Dürer and Giorgione, and also provides a chronology for Giorgione’s work between 1506–1508.

This was a technique never used before, and one that immmediately became popular in the painting of his German contemporaries, and also in that of some painters in the Netherlands—where the motif had only been used previously to highlight such objects as Christ’s morse (the Master of Flemalle, Philadelphia) or the crystal orb of the Salvator Mundi. Intrigued by Carla Gottlieb’s observation (“The Mystical Window in Paintings of the Salvator Mundi,” Gazette des BeauxArts 1960, 313–332) that window reflections must have been intended to operate as references to Salvation, Bialostocki notes that Dürer’s consistent use of the 42 ALBRECHT DÜRER: A GUIDE TO RESEARCH device in secular portraiture casts doubt on an exclusively “mystical” meaning for the motif, pointing out that Dürer’s reflected window came from the observation of nature, but that, as he used them in both indoor and outdoor settings, they probably retained a symbolic significance as a reference to light, or claritas itself —which, of course, had its own religious symbolism.

Discusses Dürer’s impact on the Romantic writers Tieck and Wackenroder, and on the Nazarene painters Peter Cornelius and Franz Pforr. 14. Anonymous. ” Kunstblatt 31, 32, 34, 35, 37 (April 1828). Contemporary descriptions of the festivities held in Nuremberg honoring Dürer’s three hundredth death anniversary in 1828 were reported in series: vol. 31, pp. 121–123 (April 17—contains Ernst Förster’s lyrics for the “hymn” to Dürer sung at his grave at sunrise on Easter morning); vol. 32, pp. 125–129 (April 21—a list of the fourteen items inserted in the cornerstone of the Dürer monument); vol.

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Albrecht Durer: A Guide to Research (Garland Reference Library of the Humanities) by Jane Hutchison, Jane Campbell Hutchison


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