Albrecht Dürer and the Venetian Renaissance
Albrecht DÜrer and the Venetian Renaissance examines twenty-five paintings by the German artist in an effort to reevaluate his relationship to contemporary Italian art and his status as a painter. Luber explains how DÜrer appropriated Venetian techniques and suggests that the artist was engaged in the exploration of an atmospheric, coloristic perspective. This exploration, Luber argues, unifies DÜrer's work and necessitates a reassessment of the critical partition of his painted and graphic work.
Wat mensen zeggen - Een review schrijven
We hebben geen reviews gevonden op de gebruikelijke plaatsen.
achieved Adoration Albrecht Dürer Altarpiece appear areas argued artist attributed believe Bellini Berlin century Chapter Christ Christ Child close Collection color completed critical dating depiction detail discussion drawing early Emperor evidence examine example executed Feast Figure follows further German Giovanni graphic ground hand Head imitation infrared infrared reflectography interest interpretation IRR assembly Italian Italy journey Kunsthistorisches Museum landscape later letter light lines London Madonna material Maximilian meaning Munich Museum National Gallery Northern noted Nuremberg original painterly painters painting panel Panofsky particularly passage Pear perspective Pirckheimer Plate Portrait possible practice preparation preparatory drawings presence prints production provides relationship Renaissance reveals Rose Garlands Saints scholars shows similar sixteenth space specific suggests surface technical technique Thausing theory Tietzes translated Trinity underdrawing University Press Vasari Venetian Venice Vienna Virgin visible watercolor wrote York