अल्ब्रेच्त् डेरर

अल्ब्रेश्ट ड्युएरेर
सेल्फ-पोर्ट्रेट (१५००) by Albrecht Dürer, oil on board, Alte Pinakothek, म्युनिख
बुगु नां	Albrecht Dürer
बुगु	(1471-05-21)मे 21, सन् 1471 नुरेम्बर्ग, पवित्र रोमन साम्राज्य
मदुगु	अप्रिल 6, 1528(1528-04-06) (आयु 56) नुरेम्बर्ग, पवित्र रोमन साम्राज्य
राष्ट्रियता	जर्मन
ख्यः	प्रिन्टमेकिङ, चित्रकला, इन्ग्रेभिङ
ज्या	Knight, Death, and the Devil (1513) Saint Jerome in his Study (1514) Melencolia I (1514) Dürer's Rhinoceros

'अल्ब्रेश्ट ड्युएरेर' डोइच भाषा: Albrecht Dürer (ˈalbʀɛçt ˈdyʀɐ) (मे २१, १४७१ – अप्रिल ६, १५२८) छम्ह नुरेम्बर्गया जर्मन चित्रकलामि, प्रिन्टमेकर व थियोरिस्ट ख। His still-famous works include the Apocalypse woodcuts, Knight, Death, and the Devil (1513), Saint Jerome in his Study (1514) and Melencolia I (1514), which has been the subject of extensive analysis and interpretation. His watercolours mark him as one of the first European landscape artists, while his ambitious woodcuts revolutionized the potential of that medium. Dürer's introduction of classical motifs into Northern art, through his knowledge of Italian artists and German humanists, have secured his reputation as one of the most important figures of the Northern Renaissance. This is reinforced by his theoretical treatise which involve principles of mathematics, perspective and ideal proportions.

His prints established his reputation across Europe when he was still in his twenties, and he has been conventionally regarded as the greatest artist of the Renaissance in Northern Europe ever since.

Legacy and influence

The Cannon, Dürer's largest etching, 1518

Dürer exerted a huge influence on the artists of succeeding generations, especially in printmaking, the medium through which his contemporaries mostly experienced his art, as his paintings were predominately in private collections located in only a few cities. His success in spreading his reputation across Europe through prints was undoubtedly an inspiration for major artists such as Raphael, Titian, and Parmigianino, who entered into collaborations with printmakers to distribute their work beyond their local region.

His work in engraving seems to have had an intimidating effect upon his German successors, the "Little Masters", who attempted few large engravings but continued Dürer's themes in tiny, rather cramped compositions. The early Lucas van Leyden was the only Northern European engraver to successfully continue to produce large engravings in the first third of the century. The generation of Italian engravers who trained in the shadow of Dürer all either directly copied parts of his landscape backgrounds (Giulio Campagnola and Christofano Robetta), or whole prints (Marcantonio Raimondi and Agostino Veneziano). However, Dürer's influence became less dominant after 1515, when Marcantonio perfected his new engraving style, which in turn traveled over the Alps to dominate Northern engraving also.

In painting, Dürer had relatively little influence in Italy, where probably only his altarpiece in Venice was seen, and his German successors were less effective in blending German and Italian styles. His intense and self-dramatizing self-portraits have continued to have a strong influence up to the present, and have been blamed for some of the wilder excesses of artists' self-portraiture, especially in the nineteenth and twentieth centuries.

Dürer has never fallen from critical favour, and there have been revivals of interest in his works Germany in the Dürer Renaissance of about 1570 to 1630, in the early nineteenth century, and in German Nationalism from 1870 to 1945. He is commemorated on the calendar of the Lutheran Church with other artists on April 6. The crater Dürer on Mercury was named in his honor.

His original works are now totally priceless, so much so that even his 19th Century Albertina prints & engravings are changing hands at leading galleries & auctions houses for many tens of thousands of dollars.

Dürer's theoretical works

In all his theoretical works, in order to communicate his theories in the German language, rather than Latin, Dürer used graphic expressions based on a vernacular, craftsmen's language, e.g. 'snail-line' ('Schneckenlinie') for a spiral, thus contributing to the expansion in German prose which Martin Luther had begun with his translation of the Bible.

The Four Books on Measurement

Dürer's work on geometry is called the 'Four Books on Measurement' ('Underweysung der Messung mit dem Zirckel und Richtscheyt'). The first book focuses on linear geometry. Dürer's geometric constructions include helices, conchoids and epicycloids. He also draws on Apollonius, and Johannes Werner's 'Libellus super viginti duobus elementis conicis' of 1522. The second book moves onto two dimensional geometry, i.e. the construction of regular polygons. Here Dürer favours the methods of Ptolemy over Euclid. The third book applies these principles of geometry to architecture, engineering and typography. In architecture Dürer cites Vitruvius but elaborates his own classical designs and columns. In typography, Dürer depicts the geometric construction of the Latin alphabet, relying on Italian precedent. However, his construction of the Gothic alphabet is based upon an entirely different modular system. The fourth book completes the progression of the first and second by moving to three-dimensional forms and the construction of polyhedrons. Here Dürer discusses the five Platonic solids, as well as seven Archimedean semi-regular solids, as well as several of his own invention. In all these, Dürer shows the objects in net. Finally, Dürer discusses the Delian Problem and moves on to the 'construzione legittima', a method of depicting a cube in two dimensions through linear perspective. It was in Bologna that Dürer was taught (possibly by Luca Pacioli or Bramante) the principles of linear perspective, and evidently became familiar with the 'costruzione legittima' in a written description of these principles found only, at this time, in the unpublished treatise of Piero della Francesca. He was also familiar with the 'abbreviated construction' as described by Alberti and the geometrical construction of shadows, a technique of Leonardo da Vinci. Although Dürer made no innovations in these areas, he is notable as the first Northern European to treat matters of visual representation in a scientific way, and with understanding of Euclidean principles. In addition to these geometrical constructions, Dürer discusses in this last book of Underweysung der Messung an assortment of mechanisms for drawing in perspective from models, and provides woodcut illustrations of these methods that have become standard to presentations of perspective.

The Four Books on Human Proportion

Dürer's work on human proportions is called the 'Four Books on Human Proportion' ('Vier Bücher von Menschlicher Proportion) of 1528. The first book was mainly composed by 1512/13 and completed by 1523, showing five differently constructed types of both male and female figures, all parts of the body expressed in fractions of the total height. Dürer based these constructions on both Vitruvius and empirical observations of, "two to three hundred living persons," in his own words. The second book includes eight further types, broken down not into fractions but an Albertian system, which Dürer probably learnt from Francesco di Giorgio's 'De harmonica mundi totius' of 1525. In the third book, Dürer gives principles by which the proportions of the figures can be modified, including the mathematical simulation of convex and concave mirrors; here Dürer also deals with human physiognomy. The fourth book is devoted to the theory of movement.

Appended to the third book, however, is a self contained essay on aesthetics, which Dürer worked on between 1512 and 1528, and it is here that we learn of his theories concerning 'ideal beauty'. Dürer rejected Alberti's concept of an objective beauty, proposing a relativist notion of beauty based on variety. Nonetheless, Dürer still believed that truth was hidden within nature, and that there were rules which ordered beauty, even though he found it difficult to define the criteria for such a code. In 1512/13 his three criteria were function ('Nutz'), naïve approval ('Wohlgefallen') and the happy medium ('Mittelmass'). However, unlike Alberti and Leonardo, Dürer was most troubled by understanding not just the abstract notions of beauty but as to how an artist can create beautiful images. Between 1512 and the final draft in 1528, Dürer's belief developed from an understanding of human creativity as spontaneous or inspired to a concept of 'selective inward synthesis'. In other words, that an artist builds on a wealth of visual experiences in order to imagine beautiful things. Dürer's belief in the abilities of a single artist over inspiration prompted him to assert that "one man may sketch something with his pen on half a sheet of paper in one day, or may cut it into a tiny piece of wood with his little iron, and it turns out to be better and more artistic than another's work at which its author labours with the utmost diligence for a whole year."

See also

• Dürer paintings and prints

Books/sources

• Giulia Bartrum (2002), Albrecht Dürer and his Legacy, British Museum Press. ISBN 0-7141-2633-0
• Wilhelm Kurth (Editor) (2000), The Complete Woodcuts of Albrecht Durer, Dover Publications. ISBN 0-486-21097-9 — still in print in paperback.
• David Landau & Peter Parshall, The Renaissance Print, Yale, 1996, ISBN 0-300-06883-2
• Erwin Panofsky(1945), "The Life and Art of Albrecht Dürer", Princeton, ISBN 0-691-00303-3
• Walter L. Strauss (Editor) (1973), The Complete Engravings, Etchings and Drypoints of Albrecht Durer, Dover Publications. ISBN 0-486-22851-7 — still in print in paperback.
• Craig Harbison, "Dürer and the Reformation: The Problem of the Re-dating of the St. Philip Engraving", in The Art Bulletin, Vol. 58, No. 3, 368-373. Sep., 1976.
• David Hotchkiss Price, Albrecht Dürer's Renaissance: Humanism, Reformation and the Art of Faith, Michigan, 2003.

External links

• Links to online museum images of all of Dürer's prints — see section B (nb: Not all Public Domain)
• Albrecht Durer in the "History of Art"
• http://www.ibiblio.org/wm/paint/auth/durer/
• Alternative Albrecht Durer
• Works by Albrecht Dürer at Museumsportal Schleswig-Holstein
• Works by Albrecht Dürer at the Museum of New Zealand Te Papa Tongarewa
• Albrecht Dürer: Vier Bücher von menschlicher Proportion (Nuremberg, 1528). Selected pages scanned from the original work. Historical Anatomies on the Web. US National Library of Medicine.
• [१]
• Albrecht Dürer यागु कृति प्रोजेक्ट गुटेनबर्गय्
• De Symmetria... and Underweysung der Messung 1538, from Rare Book Room.
• O'Connor, John J. & Robertson, Edmund F., "अल्ब्रेच्त् डेरर", MacTutor History of Mathematics archive, University of St Andrews .
• www.duerer.nuernberg.de
• www.albrecht-durer.org