Albrecht Durer
Albrecht Durer was born on May 21, 1471 in Nuremberg, Germany. His father Albrecht Durer the elder, a goldsmith of lower middle class income, sent him to attend Latin school at St. Lorenz. Later Durer served as an apprentice to his father. Right before becoming an apprentice of the painter Michael Wolgemut, in 1484, he completed some of his earliest work at around the age of 13, which was one of his self -portrait series. In 1494 Durer increased social standing as a result of his arranged marriage to the daughter of a prosperous machine and instrument maker. Albrecht Durer was so great an artist, so searching and all-encompassing a thinker, that he was almost a Renaissance in his own right. Durer was exceptionally learned, and the only northern artist who fully absorbed the sophisticated Italian dialogues between scientific theory and art. He also rejected the Gothic art and philosophy of Germany's past, becoming the first great Protestant painter. 1494 was also the year he visited Venice to learn about the new Renaissance philosophy and art techniques. In Venice, Durer had made drawings of exot
ic figures and animals and had done many nature studies. Durer was immersed in the great realistic tradition of Netherlander art and the mysticism of German art, but he also sought to encompass the monumental and idealizing tendencies of the Italian Renaissance. Visually, Durer has portrayed his mother as a survivor from the harsh trials of life. His application in the areas of light, dark, and detail around her face and facial features depicts her as more than a person who has suffered, but also as an ethereal being of great internal strength and maternal qualities. He has lightly gestured in the characteristics of his mother's clothing and face. Durer gives his gestural drawing direction through his use of defining contour lines, which bring out his mother's face from the background making it the most important feature in this drawing. Bibliography Ripley, Elizabeth. In this drawing, Durer possesses a rich tonal range from the palest gray to pure black, depending on the pressure of his application. He uses delicate, brisk strokes with the charcoal to execute light shading in areas of her shawl, cape, facial features, and neck. The contour lines amplify her wrinkles, and shape of the face, such as, her eyes, nose, and mouth. Durer's portrait of his mother, a charcoal drawing made in 1514, is one of many portraits of family, friends, and patrons in various media.
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