By R. Kopfenberg
Таинственный и гениальныйнемецкий творец, чьи интересыне ограничивались только живописью или гравюрой. Альбрехт Дюрер был настоящим пророком германского Возрождения. Его кисть создавала портреты императоров и сочувствовала нищим крестьянам. Он создавал пушки и учил ландскнехтов, как правильно разрушать замки и крепости. И в то же время он вырезал на гравировальных досках изумительную серию офортов, проклинавших ужасы войны и всех гибельных для человечества напастей. Альбом с репродукциями великого Дюрера.
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Extra resources for Albrecht Duerer
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St. John stood up and shed his long moss-covered hair, and the Pope recognized him. 1 Mrs. Heaton, Dürer’s first biographer in English, describes the scene very poignantly: “The princess is quite naked and more graceful in form and more beautiful of face than most of Dürer’s female figures. 2 The composition was perhaps suggested to Dürer by Jacopo de Barbari’s engraving “Cleopatra” (or vice versa). 1 As told in Passional oder der Heiligen Leben, Nuremberg, 1488, published by Anton Koberger, Dürer’s godfather.
1 Hüsgen, 1778, No. 88; Heller, 1827, No. 981. 2 Flechsig, 1928, vol. I, p. 191; Winkler, 1957, p. 57. 3 P. 195. 7. FORTUNE (Das kleine Glück) Monogram; no date [1495]. 120 X 67 mm; 4 5/8 X 2 5/8 in. No border lines. 185. Fortune is described in the Tabula Cebetis (Tablet of Cebes)1 as a blind woman standing on a globular stone. 2 The instability of the sphere is here further emphasized by the thin cane. Fortune is holding the aphrodisiac plant eryngium, denoting luck in love (cf. No. 2). Like “The Virgin with the Dragonfly” (No.
30 Three Putti with Shield and Helmet No. 32 The Virgin with the Infant Christ and St. Anne No. 33 St. Sebastian at the Tree No. 35 The Standard Bearer No. 36 St. George on Foot No. 38 Apollo and Diana 4 1957, p. 137. 29. WITCH RIDING BACKWARDS ON A GOAT Monogram with the D reversed; no date [1500]. 115 X 70 mm; 4 1/2 X 2 3/4 in. No border lines. 174. This engraving too is evidently based on an Italian model. 1 No satisfactory explanation has yet been found of this subject. Tietze2 suggests that at least the putti may be related to Mantegna’s lost painting Melancholia.