Search results
Results from the WOW.Com Content Network
An image of the Indian rhinoceros, the image has such force that it remains one of his best-known and was still used in some German school science text-books as late as last century. [12] In the years leading to 1520 he produced a wide range of works, including the woodblocks for the first western printed star charts in 1515 [ 28 ] and ...
The central panel, portraying the Sorrowing Mother, arrived in the Bavarian museum from the Benediktbeuren convent of Munich in the early 19th century. It was restored in the 1930s: once the overpaintings and additions were removed, the shell-shaped niche (a motif typical of Italian art), the halo and the sword (a symbol of Mary of the Seven ...
Bergamo, Accademia Carrara (469 not found) 59 Portrait of Hans Tucher diptych, left wing back side: Combined Coat-of-Arms of the Tucher and Rieter Families: 1499: Oil on panel: 28 × 24: Weimar, Schlossmuseum, Klassik Stiftung Weimar : 60–61 Portrait of Felicitas Tucher (née Rieter) diptych, right wing: 1499: Oil on panel: 28 × 24
A major feature of German art in the early 20th century until 1933 was a boom in the production of works of art of a grotesque style. [ 50 ] [ 51 ] Artists using the Satirical - Grotesque genre included George Grosz , Otto Dix and Max Beckmann , at least in their works of the 1920s.
This works to avoid defining structure in the composition in a permanent way, allowing nature to also organise the vastness of the pictorial space. [3] Dürer's wide-ranging skills are also displayed in the composition in the finer details, including the animals found within the stables, as well as the plants that are scattered about the lower ...
Many of Durer's handmade drawings were drawn on a grid to help him simplify the proportions of people in motion. [11] Illustrations from the book Four Books on Human Proportion (German: Vier Bücher von Menschlicher Proportion).
Portrait of the Artist Holding a Thistle (or Eryngium) is an oil painting on parchment pasted on canvas by German artist Albrecht Dürer. Painted in 1493, it is the earliest of Dürer's painted self-portraits and has been identified as one of the first self-portraits painted by a Northern artist. [ 1 ]
The artist's mix of classical and sixteenth-century Nuremberg motifs and the northern European setting were utilised to bring the images closer to the audience. According to the critic Laurie Meunier Graves, "these prints manage to illuminate the sacred while at the same time providing scenes of homely, Renaissance life.