Renaissance 시대 화가 작품

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Renaissance 시대 화가 작품 Albrecht Durer(German, 1471-1528)  Albrecht Durer(German)-Head of A Woman, Drawing-1520 Albrecht Durer(German)-The Sun & Moon, Drawing-1412  Albrecht Durer-Fisherman's House On A Lake-1496  Albrecht Durer-Landscape with a Woodland Pool, Drawing-1496 Albrecht Durer-The Christian Knight, Death, Devil-1513 Albrecht Durer-Three Orientals, Drawing-1494 Albrecht Durer-Woman of Nuremberg, Drawing-1512  Durer, Albrecht-The Fall(Rijks Museum)-1504  DURER-The Virgin & Child-1500   Durer, Albrecht Timeline: Northern Renaissance I hold that the perfection of form and beauty is contained in the sum of all men. -- Durer, Four Books on Human Proportions, 1528 Durer, Albrecht (b. May 21, 1471, Imperial Free City of N?nberg [Germany]--d. April 6, 1528, N?nberg), German painter, printmaker, draughtsman and art theorist, generally regarded as the greatest German Renaissance artist. His vast body of work includes altarpieces and religious works, numerous portraits and self-portraits, and copper engravings. His woodcuts, such as the Apocalypse series (1498), retain a more Gothic flavour than the rest of his work. Born in N?nberg as the third son of the Hungarian goldsmith Albrecht D?er. Began as an apprentice to his father in 1485, but his earliest known work, one of his many self portraits, was made in 1484. Died in N?nberg in 1528. During 1513 and 1514 D?er created the greatest of his copperplate engravings: the Knight, St. Jerome in His Study, and Melencolia I--all of approximately the same size, about 24.5 by 19.1 cm (9.5 by 7.5 inches). The extensive, complex, and often contradictory literature concerning these three engravings deals largely with their enigmatic, allusive, iconographic details. Although repeatedly contested, it probably must be accepted that the engravings were intended to be interpreted together. There is general agreement, however, that D?er, in these three master engravings, wished to raise his artistic intensity to the highest level, which he succeeded in doing. Finished form and richness of conception and mood merge into a whole of classical perfection. Durer and German Portraiture Durer was so great an artist, so searching and all-encompassing a thinker, that he was almost a Renaissance in his own right -- and his work was admired by contemporaries in the North and South alike. The 16th century saw the emergence of a new type of patron, not the grand aristocrat but the bourgeois, eager to purchase pictures in the newly developed medium of woodcut printing. The new century also brought an interest in Humanism and science, and a market for books, many of which were illustrated with woodcuts. The accuracy and inner perception of D?er's art represent one aspect of German portraiture; another is seen in the work of that master of the court portrait, Holbein. Impressive though others may be, the great German artist of the Northern Renaissance is Albrecht D?er (1471-1528). We know his life better than the lives of other artists of his time: we have, for instance, his letters and those of his friends. D?er traveled, and found, he says, more appreciation abroad than at home. The Italian influence on his art was of a particularly Venetian strain, through the great Bellini, who, by the time D?er met him, was an old man. D?er was exceptionally learned, and the only Northern artist who fully absorbed the sophisticated Italian dialogue between scientific theory and art, producing his own treatise on proportion in 1528. But although we know so much about his doings, it is not easy to fathom his thinking. Durer seems to have united a large measure of self-esteem with a deep sense of human unfulfillment. There is an undercurrent of exigency in all he does, as if work was a surrogate for happiness. He had an arranged marriage, and friends considered his wife, Agnes, to be mean and bad-tempered, though what their real marital relations were, nobody can tell. For all his apparent openness, D?er is a reserved man, and perhaps it is this rather sad reserve that makes his work so moving. The Germans still tended to consider the artist as a craftsman, as had been the conventional view during the Middle Ages. This was bitterly unacceptable to D?er, whose second Self-Portrait (out of three) shows him as slender and aristocratic, a haughty and foppish youth, ringletted and impassive. His stylish and expensive costume indicates, like the dramatic mountain view through the window (implying wider horizons), that he considers himself no mere limited provincial. What D?er insists on above all else is his dignity, and this was a quality that he allowed to others too. Even a small and early D?er has this momentousness about it. His Madonna and Child, which manifestly follows the Venetian precedent of the close-up, half-figure portrait, was once thought to be by Bellini. To D?er, Bellini was an example of a painter who could make the ideal become actual. But D?er can never quite believe in the ideal, passionately though he longs for it. His Madonna has a portly, Nordic handsomeness, and the Child a snub nose and massive jowls. All the same, He holds His apple in exactly the same position as in D?er's great engraving of Adam and Eve, and this attitude is pregnant with significance. The Child seems to sigh, hiding behind His back the stolen fruit that brought humanity to disaster and that He is born to redeem. On one side is the richly marbled wall of the family home; on the other, the wooded and castellated world. The sad little Christ faces a choice, ease or the laborious ascent, and His remote Mother seems to give Him little help. Beautiful though the work is in color, and fascinating in form, it is this personal emotion that always makes Durer an artist who touches our heart, somehow putting out feelers of moral sensibility. There is almost obsessive quality about a great D?er. One feels the weight of a sensibility searching into the inner truth of his subject. It is this inwardness that interests D?er, an inner awareness that is always well contained within the outer form (he is a great portrait painter) but that lights it from within. Having rejected the Gothic art and philosophy of Germany's past, D?er is the first great Protestant painter, calling Martin Luther ``that Christian man who has helped me out of great anxieties''. These were secret anxieties, that hidden tremulousness that keeps his pride from ever becoming complacent. Although there is no reason why any Catholic artist should not have painted The Four Apostles, nor why such an artist should not equally have chosen first John and Peter (indisputably biblical Apostles), then Paul and Mark (mere disciples, not ordained by Christ in the Gospel story, though they were great preachers of the Word), it strikes a definitely Protestant note. These four embody the four temperaments: D?er had a consistent interest in medicine and its psychological concomitants, since in some way he found humankind mysterious, and it was a mystery he pondered constantly. Durer came from a Hungarian family of goldsmiths, his father having settled in Nuremberg in 1455. In The Painter's Father D?er shows the face with respectful sensitivity. The technique is pencil-like, precise, and enquiring; the description achieved has a hard brilliance. However, the rest of the picture may be incomplete, or not all D?er's work. The rudimentary background is a far cry from the detailed one in D?er's own Self-portrait, and the sitter's clothing is hardly more than sketched in. ****************** Bellini, Giovanni(Italy Venetian, 1430-1516))   Bellini-Feast Of Gods-1514    Bellini(Italian)-Madonna and Child-1480s   Bellini(Italy)-Christ Blessing(Kimbell Museum)-1500   Bellini(Italy)-Turkish Woman, Drawing-1480    Bellini-Episode From Life of Publius C.Scipio-1506     Bellini-Madonna & Child with Saints-1490   Bellini-Madonna & Child(Kimbell Museum)-1470   Bellini-Madonna and Child-1490   Bellini-Orpheus-1515   Bellini-St. Jerome Reading-1480   BELLINI-The Adoration of The Kings-1475   BELLINI-The Agony In The Garden-1465  ******************** Brueghel(Dutch, 1568-1625)       Brueghel(Dutch, 1568-1625)- The Holy Family(Alte Pinakothek, Munich) Brueghel(Dutch, 1568-1625)-The Animals Entering The Ark (Wellington Museum, London)-1615  Brueghel(Dutch,1568-1625)-A Flemish Fair(Windsor Castle)-1610  Brueghel(Dutch,1568-1625)-Allegory of The Five Senses(private collection) Brueghel(Dutch,1568-1625)-Bouquet, On Wood(Atle, Munich)-1603 Brueghel(Dutch,1568-1625)-Landscape with Windmill(Prado Museum)-1607 Brueghel-A Village Street with The Holy Family, Arriving at Inn (private collection)-1608 Brueghel(netherland,1568-1625)-Latona & The Lycian Peasants (Rijksmuseum)-1605 Brueghel, Jan The Elder(Dutch, 1568-1625)-The Sense of Hearing (Prado Museum)-1618 Brueghel, Jan the Elder(netherland, 1568-1625)-Rest on The Flight to Egypt, detail(Hermitage Museum)-1607 Brueghel-Christ Preaching At The Seaport(private collection) Brueghel-Diana And Actaeon(private collection) Brueghel-Gathering of Gypsies in the Wood(Prado Museum) Brueghel-Great Fish Market(Alte Pinakothek, Munich)-1603 BRUEGHEL-Interior of Gothic Church-1604 Brueghel-Pan Pusuing Syrinx-1615 BRUEGHEL-The Adoration of The King-1598 Brueghel-Wedding Banquet(Prado Museum)  ********************           Veronese, Paolo(Italy, Mannerism, 1528-1588) Veronese(Italy,1528-1588)-Battle of Lepanto(Dell'accademia, Venice)-1572 Veronese(Italy,1528-1588)-The Martyrdom of St. Justine(Uffizi)-1573 Veronese(Italy,1528-88)-Baptism & Temptation of Christ(Brera, Milan) Veronese, Paolo(Italy,1528-1588)-the Rape of Europe (Sala Anticollegio, Venice)-1580 Veronese, Paolo(Italy,1528-1588)-The Vision of St. Helena (Vatican)-1580 Veronese, Paolo(Italy,1528-88)-The Marriage of St. Catherine (Dell'accademia, Venice)-1575 Veronese, Paolo(Italy, Mannerism,1528-1588)-St. Lucy & A Donor-1580 Veronese, Paolo(Italy,1528-88)-Lucretia (Kunsthistorisches Museum, Viena)-1580~90 Veronese, Paolo-Feast In The House of Levi(Dell'accademia, Venice)-1573 Veronese-Madonna Enthroned with Saints(Dell'academia, Venice)-1562 Veronese-Mars & Venus united by love(Metropolitan Museum, NY.)-1570 Veronese-St John the Baptist Preaching(Borghese Gallery, Rome)-1562 Veronese-Susanna in the Bath(Louvre) Veronese-The Allegory of Love Unfaithfulness(National Gallery, London)-1570 Veronese-the family of Darius before Alexander(National Gallery, London Veronese-The Finding of Moses(Kunsthistorisches Museum, Viena)-1570~5 Veronese-The Marriage at Cana(Gemaldegalerie, Dresden)~1560 Veronese-The Marriage at Cana(Louvre)-1563

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