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Heracles and the Stymphalian birds, credit wikipedia.
Albrecht Dürer was a painter, printmaker, and theorist of the German Renaissance. Born in Nuremberg, Dürer established his reputation and influence across Europe when he was still in his twenties due to his high-quality woodcut prints. He was in communication with the major Italian artists of his time, including Raphael, Giovanni Bellini and Leonardo da Vinci, as his vast body of work includes engravings, his preferred technique in his later prints, altarpieces, portraits, watercolours and books.
His watercolours also mark him as one of the first European landscape artists, while his ambitious woodcuts revolutionised the potential of that medium. Dürer’s introduction of classical motifs into Northern art, through his knowledge of Italian artists and German humanists, has secured his reputation as one of the most important figures of the Northern Renaissance. This is reinforced by his theoretical treatises, which involve principles of mathematics, perspective, and ideal proportions.
I do like his style because it reminds me the bright colours of the Rapahelite School and the light use of tones although the depth of the perspective is not affected by the little contrast of background tonal values and shades.
I find really exciting the use of bright colours for the human figures clothes to enhance the main scenario although I love the way the landscape on the background is still part of the whole painting and it looks to have the function of an applied layer rather than just a less important scenario behind the scenes.
Lamentation, credit Wikipedia.
Although best remembered as one of the greatest artists that hailed from Northern Europe during the Renaissance, it is important to consider that different times in Durer’s life saw him producing different styles and techniques. From his subjects to the actual mediums he used, he was diverse in his genius though he focused on three main areas; painting, printmaking and theoretical works.
Durer’s first piece was a self-portrait that was made using silverpoint at the age of 13. He used silverpoint for numerous drawings, particularly those dated after 1520 and his visit to the Netherlands. His first major self-portrait was created around 1493 in Strasbourg.
The artist’s style changed when he arrived in Italy in 1494 and began using watercolours for his sketches. He produced many landscape sketches of the Alps during his time there and also learnt woodcuts and drypoint from works of Martin Schongauer.
The engravings and drawings Durer created at this time show the influence of Schongauer as well as that of Antonio Pollaiuolo.
Lots and his daughters, credit Wikipedia
Development in style:
After his return from Italy in 1495 Durer opened a workshop and refined his style over the next five years using Italian Renaissance influences and combining this with his northern European technique. His main work at this time was woodcut prints of a religious nature and complex works of artists with a balanced composition.
In his workshop Durer began to master the art of using burin for engravings and this was connected to his goldsmith upbringing. His Prodigal Son was a particular masterpiece from this category as he used it to detail landscapes and animals.
At this time he also started to combine watercolours and body colours, as seen in the Young Hare before heading back to Italy and working with linen and tempera. His altarpieces and portraits from this era clearly demonstrate the influence of Italian art as well as his Germanic roots.
Saint Jerome in the Wilderness, credit Wikipedia.
Durer’s masterpieces:
When Durer returned to Nuremberg in 1507 he began creating the pieces that he is most remembered for.
He began with woodcuts that had a strong Venetian influence and Durer’s chiaroscuro (contrast between light and dark) effects on modelling, which he had developed. He was the first to understand that making a mid-tone in a print can highlight and contrast shadows.
Engravings, woodcuts and linen portraits were high on Durer’s agenda and it wasn’t until he was commissioned by Emperors that he reverted back to painting.
Around 1518 he moved into producing theoretical works before heading to the Netherlands where he produced many admired drawings using chalk, charcoal and silverpoint.
Who or What Influenced Albrecht Durer
Quite rightly classed as a master of the Renaissance, Albrecht Durer was aware of his talent and he dressed lavishly, meaning he was remembered as a man of style as well as an internationally-acclaimed artist.
Hometown influences:
Durer’s earliest influences were his father (Albrecht Durer senior), who was a goldsmith, and his godfather Anton Koberger, who became a painter. Under his father’s influence he learnt about mathematics but his talent for drawing meant that he progressed into painting.
He developed his skills during an apprenticeship with well-known painter and woodcutter Michael Wolgemut at the age of 15.
Durer had a childhood friend called Willibald Pirckheimer whom he consulted on many of his works throughout his career and from him he learned a great deal about the world.
Famous influences:
Durer travelled regularly during his life and although he visited all of Europe, it was his two visits to Italy that most influenced his future works.
Through his trips to Italy (1495 and 1505) he was exposed to the works of great artists such as Antonio Pollaiuolo, Mantegna and Lorenzo di Credi, among others. Durer once wrote that the best artist was Giovanni Bellini and it is likely that he drew inspiration from him.
He also experienced Nikolaus Gerhaert’s sculptures whilst in France.
Although a Roman Catholic, Durer was intrigued by the works of Martin Luther and was sympathetic to the ideas he proposed regarding the Reformation which led to some of his later works including Protestant and evangelical sympathies. He supported the reforming of spiritual truth because of this but the violence involved repelled him.
https://myocablog.wordpress.com/2018/01/11/albrecht-durer/
https://antichecuriosita.co.uk/manifesto-destrutturalista-contro-comune-buonsenso/
