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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 ...
Self-Portrait (Portrait of the Artist Holding a Thistle) 1493 d+c [9] Oil on parchment transferred to canvas [10] 56.5 × 44.5: Paris, Musée du Louvre : 10 Jesus Child as Redeemer: 1493 dm [11] Bodycolor and gold on parchment: 11.8 × 9.3: Vienna, Albertina 11 Lion: 1494 dm [12] Bodycolor, watercolor on parchment: 12.6 × 17.2: Hamburg ...
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.
Adam and Eve, 1504, engraving with burin on copper, 25.1 x 19.8 cm Adam and Eve, 1507, oil on wood panel, 208 x 91 cm per panel. Museo del Prado.. Adam and Eve is the title of two famous works in different media by Albrecht Dürer, a German artist of the Northern Renaissance: an engraving made in 1504, and a pair of oil-on-panel paintings completed in 1507.
Pages in category "19th-century German painters" The following 200 pages are in this category, out of approximately 1,163 total. This list may not reflect recent changes .
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).
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 ...