By Fedja Anzelewski
Albrecht Dürer (21 could 1471 – 6 April 1528) was once a German painter, engraver, printmaker, mathematician, and theorist from Nuremberg. His high quality woodcuts (nowadays known as Meisterstiche or «master prints») confirmed his popularity and impression throughout Europe while he used to be nonetheless in his twenties, and he has been conventionally considered as the best artist of the Northern Renaissance ever seeing that. His immense physique of labor contains altarpieces, non secular works, quite a few graphics and self-portraits, and copper engravings. The woodcuts, comparable to the Apocalypse sequence (1498), keep a extra Gothic flavour than the remainder of his paintings. His recognized prints comprise the Knight, demise, and the satan (1513), Saint Jerome in his learn (1514) and Melencolia I (1514), which has been the topic of intensive research and interpretation. His watercolours additionally mark him as one of many first eu panorama artists, whereas his bold woodcuts revolutionized the potential for that medium.
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In order to see (let alone artistically convey) Spirit, the eye of contemplation must first be opened, and this opening—Kandinsky's "revelation of Spirit illumined as if by a flash of lightning"12—discloses newer, higher, and wider dimensions of existence. In the artist's own spiritual growth and development, ever subtler experiences, emotions, and perceptions would come into view, and it was the artist's duty to portray these subtler experiences (transcendelia), and thus to evoke them and encourage them in those who witness with care the finished work.
Is it Realist? Surrealist? Minimalist? Maximalist? Post-Modern?
The media would still be sensibilia, but the depicted object no longer would be bound by the rules or perspectives of matter; it would not follow the contours of matter, but of mind. No longer Nature, but Psyche. No longer realistic, but abstract. Not things, but thoughts. Not Euclidean, but Surrealistic. Not representational, but impressionistic or expressionistic. Not literal and concrete, but figurative and symbolic. ) With Kandinsky, arguably the father of abstract art, we see the full emergence, if not perfection, of intelligibilia over sensibilia; of the condensed potency of the abstract over the mere imitation of Nature's forms.