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Dürer is the best of German artists and such a lot consultant of the German brain. He, like Leonardo, used to be a guy of awesome actual recognition, nice appeal of demeanour and dialog, and psychological accomplishment, being good grounded within the sciences and arithmetic of the day. His ability in draughtsmanship was once remarkable; Dürer is much more celebrated for his engravings on wooden and copper than for his work. With either, the ability of his hand used to be on the provider of the main minute statement and analytical examine into the nature and constitution of shape. Dürer, in spite of the fact that, had no longer the sensation for summary good looks and excellent grace that Leonardo possessed; yet as an alternative, a profound earnestness, a more in-depth curiosity in humanity, and a extra dramatic invention. Dürer was once an exceptional admirer of Luther; and in his personal paintings is the similar of what was once potent within the Reformer. it's very severe and honest; very human, and addressed the hearts and knowing of the loads. Nuremberg, his homeland, had develop into an exceptional centre of printing and the executive distributor of books all through Europe. hence, the paintings of engraving upon wooden and copper, that may be referred to as the pictorial department of printing, used to be a lot inspired. Of this chance Dürer took complete virtue. The Renaissance in Germany used to be extra an ethical and highbrow than a creative circulate, in part as a result of northern stipulations. the sensation for perfect grace and wonder is fostered by means of the examine of the human shape, and this were flourishing predominantly in southern Europe. yet Albrecht Dürer had a genius too robust to be conquered. He remained profoundly Germanic in his stormy penchant for drama, as used to be his modern Mathias Grünewald, an attractive visionary and insurgent opposed to all Italian seductions. Dürer, despite all his annoying power, ruled conflicting passions via a sovereign and speculative intelligence similar with that of Leonardo. He, too, used to be at the border of 2 worlds, that of the Gothic age and that of the trendy age, and at the border of 2 arts, being an engraver and draughtsman instead of a painter.

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Portrait de l’artiste par lui-même (Autoportrait au charbon), vers 1493. p. four 38. Erasme de Rotterdam, 1526. p. forty eight 2. Autoportrait à l’âge de treize ans, vers 1484. p. five 39. Portrait de Hieronymus Holzschuher, vers 1526. p. forty nine three. Guerriers, vers 1489. p. 6 forty. Portrait de jeune femme, vers 1506. p. 50 four. l. a. Mort d’Orphée, vers 1494. p. 7 forty-one. p. fifty one five. Un Jeune Couple, 1492. p. eight forty two. Portrait du père, 1484. p. fifty two 6. Le Christ au Mont des Oliviers, vers 1515. p. nine forty three. Tête de l’apôtre Marc, vers 1526. p. fifty three 7. Sortie de carrière, 1505. p. 10 forty four. Adam et Ève, 1507. p. fifty four eight. Deux Pieds de pivoine sauvage, 1495. p. eleven forty five. Les quatre Apôtres, vers 1526. p. fifty five nine. Le Moulin à eau, vers 1498. p. 12-13 forty six. Tête de vieillard barbu avec un bonnet. p. fifty six 10. Carrière, 1495. p. 14 forty seven. Trois études d’un casque, vers 1514. p. fifty seven eleven. Un Etang en forêt, 1496. p. 16-17 forty eight. Lot et ses filles ( Loth fuyant Sodome), vers1494-1497. p. fifty eight 12. Vue de Nuremberg, 1496-1497. p. 18 forty nine. Le Martyre des dix mille Chrétiens, vers 1508. thirteen. l. a. Passerelle à l. a. porte des halles de Nuremberg, Portrait de Jacob Muffel, vers 1521. p. fifty nine 50. L’Adoration de los angeles Sainte Trinité (Retable de Landauer), vers 1508-1511. p. 60 Lion, vers 1494. p. sixty two vers 1496-1512. p. 19 14. Trois Tilleuls dans un pré, vers 1526. p. 20 fifty one. 15. Sapin, 1495-1497. p. 21 fifty two. Lion, 1521. p. sixty three sixteen. los angeles Maison de l’étang, vers 1496. p. 22 fifty three. Le Jeune Lièvre, 1502. p. sixty five p. sixty six 17. Primevères, vers 1526. p. 24 fifty four. Lion couché, 1520-1521. 18. l. a. Grande Touffe d’herbe, vers 1503. p. 25 fifty five. Chien couché, 1520. p. sixty seven p. sixty eight citadel Côtier, 1496-1497. p. 26 fifty six. Aile de geai bleu, 1502. 20. Vue du val d’Arco, vers 1502. p. 27 fifty seven. Ruine d’un château sur un sommet rocheux 21. p. 28 19. Autoportrait en fourrure, 1500. 22. Portrait du marchand Oswald Krell, vers 1499. p. 29 23. Portrait de l’artiste par lui-même (Autoportrait avec paysage), 1498. 24. Portrait d’Elspeth Tucher, vers 1499. p. 30 p. 33 26. Emblèmes Héraldiques, vers 1499. p. 35 27. los angeles Vierge et l’Enfant, vers 1498. p. 36 28. los angeles Vierge au serin, vers 1506. p. 37 29. los angeles Vierge à l. a. poire, vers 1526. p. 38 30. l. a. Madone à l’œillet, 1516. p. 39 los angeles Vierge, l’Enfant et Sainte Anne, vers 1519. au bord d’un fleuve, 1495. p. forty 32. l. a. Vierge, l’Enfant et Sainte Anne, vers 1514. p. forty-one 33. L’Adoration de Mages, 1504. p. forty two 34. l. a. Fête du Rosaire, 1506. p. forty three 35. Jésus au milieu des docteurs, vers 1506. p. forty five 36. Portrait d’un gentilhomme, vers 1524. p. forty six p. 70-71 fifty eight. Héron, vers 1515. p. seventy two fifty nine. l. a. Tréfilerie, 1493-1494. p. seventy four 60. L’Eglise et le cimetière Saint Jean, p. 32 25. Portrait de jeune femme, 1505. 31. eighty p. forty seven sixty one. près de Nuremberg, 1494. p. seventy five Innsbruck, (vue du nord), 1494. p. seventy seven NOTES ¹ ² ³ Apelle était un peintre de los angeles cour d’Alexandre le Grand, actif aux environs de 330 avant J. -C « À los angeles mémoire d’Albrecht Dürer. Cette colline preserve ce qui était mortel en lui. Il est mort le 6 avril 1528.

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