School Powerpoint Presentations. Albrecht Durer - Northern Leonardo - presentation on the Moscow Art Gallery About the work of the artist Durer presentation
Description of the presentation by individual slides:
1 slide
Slide description:
2 slide
Slide description:
Albrecht Dürer (German: Albrecht Dürer, 1471-1528) - German painter and graphic artist, one of the greatest masters of Western European art of the Renaissance.
3 slide
Slide description:
These words about the greatest German artist, painter and graphic artist, art theorist and scientist belong to the famous philosopher and writer Erasmus of Rotterdam. They contain the key to understanding the meaning of his work. Dürer was born on May 21, 1471 in Nuremberg, the main center of German humanism. His artistic talent, business qualities and worldview were formed under the influence of three people who played the most important role in his life: his father, a Hungarian jeweler; godfather Koberger, who left jewelry art and took up publishing; and Durer’s closest friend, Wilibald Pirckheimer, an outstanding humanist who introduced the young artist to new Renaissance ideas and works of Italian masters.
4 slide
Slide description:
The works he created in his work give an idea of Dürer’s life and creative quests. different years self-portraits. All of them are witnesses of not only external, but also internal transformations of the artist, his character, thoughts and soul.
5 slide
Slide description:
The son of a silversmith, a native of Hungary. He studied first with his father, then with the Nuremberg painter and engraver Michael Wolgemut (1486-90). He spent the “years of wandering” (1490-94) required to obtain the title of master in the cities of the Upper Rhine (Basel, Colmar, Strasbourg), where he entered the circle of humanists and book printers. In Colmar, not finding M. Schongauer alive, with whom he intended to improve in the technique of metal engraving, he studied his works, communicating with his sons, also artists. Returning to Nuremberg in 1494, he married Agnes Frey and opened his own workshop. Soon he set off on a new journey, this time to Northern Italy (1494-95; Venice and Padua). In 1505-07 he was again in Venice. Having met Emperor Maximilian I in 1512, he apparently began working for him at the same time (until his death in 1519). In 1520-21 he visited the Netherlands (Antwerp, Brussels, Bruges, Ghent, Malin and other cities). Worked in Nuremberg.
6 slide
Slide description:
Description The canvas depicts a young Albrecht Durer with a thistle (blue head) in right hand, perceived as a symbol of the Passion of Christ. History of creation At the time of writing this self-portrait, Durer was 22 years old. He created it in Strasbourg during his travels, before he returned to Nuremberg and married Agnes Frey, the daughter of a highly respected citizen, whom his father had chosen for him. Johann Wolfgang von Goethe, who saw a copy of the painting in 1805 in Helmstedt, considered this painting to be a matchmaking gift for Agnes Frey. Albrecht Durer. Self-portrait. 1493 Louvre, Paris.
7 slide
Slide description:
Munich The sunniest city in Germany is located near the Alps and surrounded by picturesque lakes; there are more than 200 sunny days a year. Only in this city can you see Dürer's Self-Portrait and a wonderful collection of paintings by Rubens in the Alte Pinakothek - the world famous museum of fine arts, enjoy shopping on the most popular shopping street in Germany and drink a cup of coffee in a Schwabing cafe, where Lenin and Thomas once visited Mann, Paul Klee and Wassily Kandinsky.
8 slide
Slide description:
This "Self-Portrait" of Durer is a clear indication of his concern for establishing the social status of the artist. The carefully detailed details of the costume show us the author’s incomparable ability to convey the smallest details of the surrounding world and make us remember his own words: “The more accurately the artist depicts life, the better his picture looks.” Dürer's hands are folded as if they were lying on a table. At the same time, they are covered with gloves - obviously in order to emphasize that these are not the hands of a simple artisan. The Alpine landscape opening through the window is reminiscent of a trip to Italy a few years earlier. Everything here works to enhance a very specific pathos; the painting proclaims the social significance of the painter, his right to internal freedom and his own view of the world. In Dürer's time this approach was innovative. Self-Portrait (1498), Museo del Prado, Madrid
Slide 9
Completed by a 9th grade student
Makushkin Daniil
Head Trapeznikova I.G.
Trubachevo 2009
Slide 2
Albrecht Durer
Albrecht Dürer (German: Albrecht Dürer, 1471-1528) - German painter and graphic artist, one of the greatest masters of Western European art.
Slide 3
The beginning of a creative journey
Albrecht Dürer the elder did not want his son to draw. But one day the doors of my father's closet were open: my father forgot to lock them. And here's happiness! Engravings by the famous master Schopenhauer! It was not often that Albrecht had the opportunity to admire them. While going through the engravings, I came across a sheet of paper, and on it was a portrait of my father. Trust the adults after this! He draws himself, but he is forbidden. Albrecht had no doubt that this was his father’s work.
Slide 4
Creating a self-portrait
There is no need to worry: the engraver’s hand must be firm - this is the most important rule that his father constantly instills in him. But how can you be calm when you understand that the creator has endowed you with the ability to forever preserve on paper what your eyes see?
What is beautiful? Well, for example, a thing is beautiful if it benefits people; something that pleases the eye is beautiful. But still - what is it?
Slide 5
Until the age of 15, he studied with his father in his craft, and from that time on he became an apprentice to the artist of the Frankish school M. Wolgemut, with whom he studied until 1490, after which he began to travel. On this first trip, Dürer, by the way, also went to Venice, which is confirmed by his drawings during this time, which bear obvious traces of the influence of Italian masters on him.
Slide 6
He opened his own workshop in Nuremberg and, partly using the help of his students, executed here a significant number of altar images, such as: “The Lamentation of Christ”, “The Crucifixion”, “The Altar of All Saints”. At the same time, he painted portraits: his own (1498), Tukhern (1499).
Slide 7
Painting "Altar of All Saints"
Slide 8
After a second trip to Italy in Vienna, Dürer collected his engravings into one publication and, through experiments with new engraving techniques, made a radical revolution in this branch of art.
From famous portraits Let's name Dürer: Emperor Maximilian (1519, in Vienna), M. Wolgemut (1516, in Munich), Hans Imhof (1523, in Madrid), Kleberger, Muffel.
Slide 9
Portrait of Emperor Maximilian
Dürer, fulfilling the orders of Emperor Maximilian, did not receive any remuneration. It is believed that the portrait turned out unsuccessful.
Slide 10
In his treatises on painting, Dürer tries to reduce drawing to known mathematical principles. Dürer's significance is not limited, however, to the artistic field.
His humane, strictly moral personality, his childish naivety, the high nobility of his ideals, not only reflected in everything he created, but also confirmed by the testimony of his famous friends and contemporaries, Pirkheimer, Melanchthon and Camerarius, had such a strong ennobling and educating influence on humanity, that Dürer can be counted among the greatest personalities who contributed to progress and carried high cultural ideals.
View all slides
Slide 1
Grushina Maria 10th grade
Albrecht Durer
Slide 2
Self-portrait, 1500
Albrecht Dürer, a German painter and graphic artist, is recognized as the largest European master of woodblock printing, who raised it to the level of real art. One of the greatest masters of the Western European Renaissance. The first art theorist among Northern European artists, author of a practical guide for artists in German.
Slide 3
THE FUTURE ARTIST WAS BORN ON MAY 21, 1471 IN NUREMBERG, IN THE FAMILY OF JEWELER ALBRECHT DURER. THE DURERS HAD EIGHTEEN CHILDREN, OF WHICH EIGHT SURVIVED. ALBRECHT DURER THE YOUNGER REMEMBERED HIS MOTHER AS A GOOD WOMAN WHO LIVED A DIFFICULT LIFE. POSSIBLY WEAKENED BY FREQUENT PREGNANCIES, SHE WAS SICK A LOT. The famous German publisher Anton Koberger became Dürer's godfather.
Biography
Slide 4
Barbara Durer
Albrecht Durer Sr.
Slide 5
For some time, the Durers rented half of the house from the lawyer and diplomat Johann Pirkheimer. Hence the close acquaintance of two families belonging to different urban classes: the patricians Pirkheimers and the artisans Durers. Dürer Jr. was friends with Johann's son, Willibald, one of the most enlightened people in Germany, all his life. Thanks to him, the artist later entered the circle of humanists in Nuremberg, whose leader was Pirkheimer, and became his own man there. From 1477 Albrecht attended the Latin school. At first, the father involved his son in working in a jewelry workshop. However, Albrecht wanted to paint. The elder Dürer, despite regretting the time spent training his son, gave in to his requests, and at the age of 15, Albrecht was sent to the workshop of the leading Nuremberg artist of the time, Michael Wolgemut.
Slide 6
Studying in 1490 traditionally ended with a journey, during which the apprentice learned skills from masters from other areas. Dürer's student trip lasted until 1494. In 1492, Dürer stayed in Alsace. He did not have time, as he wished, to see Martin Schongauer, a famous master of copper engraving, who lived in Colmar. Later, Dürer moved to Basel, which at that time was one of the centers of book printing, to live with Martin Schongauer's fourth brother, Georg. Around this period, illustrations in a new, previously unusual style appeared in books printed in Basel. The author of these illustrations received from art historians the name “Master of the Bergman Printing House.” After the discovery of the engraved plaque of the title page for the edition of “Letters of St. Jerome" 1492, signed on the back with the name of Dürer, the works of the "master of the printing house Bergmann" were attributed to him.
Slide 7
Durer's engravings
Slide 8
In 1494, Dürer returned to Nuremberg and soon married the daughter of his father's friend, a coppersmith, musician and mechanic, Agnes Frey. The Durers became related to a family that occupied a higher position in Nuremberg: Hans Frey, the owner of a workshop for the manufacture of precision instruments, was a member of the city's Great Council, and Agnes's mother came from an impoverished noble family. Increased with marriage social status Dürer - now he had the right to start his own business. However, the artist’s family life itself apparently turned out unsuccessfully: the spouses were too different people, and Durer’s surviving letters indicate that there was no agreement between him and his wife.
Agnes Durer
Slide 9
Drawings
Slide 10
About a thousand of Dürer's drawings have survived: landscapes, portraits, sketches of people, animals and plants. Dürer's graphic heritage, one of the largest in the history of European art, is on a par with the graphics of da Vinci and Rembrandt in terms of volume and significance. Free from the arbitrariness of the customer and his desire for the absolute, which introduced a share of coldness into his paintings, the artist most fully revealed himself as a creator precisely in drawing. Dürer tirelessly practiced arrangement, generalization of particulars, and construction of space. His animalistic and botanical drawings are distinguished by high skill in execution, observation, and fidelity to the rendering of natural forms, characteristic of a naturalist scientist. Most of them are carefully worked out and represent finished works.
Slide 11
Engravings
Slide 12
Albrecht Dürer created 374 woodcuts and 83 copper engravings. For him, engraving was not only a means of reproduction works of art and book illustration, accessible to the general population, but also an independent industry visual arts. The engraving “Adam and Eve” (1504) is considered a masterpiece of engraving on metal by Dürer, while working on it the artist used drawings from ancient statues of Apollo and Venus. In 1513-1514, Dürer created three graphic sheets, masterpieces of engraving, which went down in the history of art under the name “Mastery Engravings”: “Knight, Death and the Devil”, “Saint Jerome in the Cell” and “Melancholy”. What unites these works, which are not connected by a single plot, are similar sizes, virtuoso execution and the fact that to this day they pose a mystery to art critics, who offer different interpretations for them.
Slide 13
Painting
Slide 14
After his first trip to Italy, Dürer had not yet fully accepted the achievements of the Italian painting masters, but in his works one can already feel an artist who thinks outside the box and is always ready to search. After the publication of “Apocalypse,” Dürer became famous in Europe as a master of engraving, and only during his second stay in Italy received recognition abroad as a painter.
Slide 15
In 1505, Jacob Wimpfeling wrote in his German History that Dürer's paintings were valued in Italy "...as highly as the paintings of Parrhasius and Apelles." The works completed after his trip to Venice demonstrate Dürer’s success in solving problems of depicting the human body, including the nude, complex angles, and characters in motion. His characteristic disappears early works gothic angularity. The artist relied on the execution of ambitious painting projects, accepting orders for multi-figure altarpieces. The works of 1507-1511 are distinguished by a balanced composition, strict symmetry, “some rationality,” and a dry manner of depiction. Unlike his Venetian works, Dürer did not strive to convey the effects of a light-air environment; he worked with local colors, perhaps yielding to the conservative tastes of his clients.
Albrecht Durer (1471-1528) Completed by: Krapivina Lyudmila Pavlovna MKOU DOD AGO "Achitskaya Children's School"
research creative path artist; - based on historical documents, sources, scientific literature, establish what role Dürer’s work played on the development of the German Renaissance. P get acquainted with the heritage of the great engraver, painter, and draftsman Albrecht Durer. Goal: Objectives:
In the culture of the Renaissance in Germany, art played an extremely important role. End of the 15th - beginning of the 16th century. became a period of short-lived, but brilliant flourishing of German Renaissance painting and graphics, which, to a much greater extent than in Italy, retained connections with the Gothic traditions, but gave artistic achievements of world significance.
The central place in the art of this time belonged to the work of Albrecht Durer (1471-1528). Dürer had a universal talent: a versatile painter, a graphic artist who became the greatest master engravings in Europe, he was also a scientist who dealt with the problems of linear perspective and proportioning the human body, an art theorist who persistently sought to comprehend the laws of beauty.
Dürer was born on May 21, 1471 in Nuremberg. His artistic talent, business qualities and worldview were formed under the influence of three people who played the most important role in his life: his father, a Hungarian jeweler; godfather Koberger, who left jewelry art and took up publishing; and Dürer's closest friend, Wilibald Pirckheimer, an outstanding humanist who introduced the young artist to new Renaissance ideas and works of Italian masters.
“Saint Jerome in a Cell” The engraving “Saint Jerome in a Cell” reveals the ideal of a humanist who devoted himself to comprehending the highest truths. In solving the theme, in the everyday interpretation of the image of the scientist, the leading role is played by the interior, transformed by the artist into an emotional poetic environment. The figure of Jerome, immersed in translations of sacred books, is the focus of compositional lines, subordinating many everyday interior details, protecting the scientist from the worries and bustle of the world.
Emperor Maximilian I In the portrait of the powerful, proud and arrogant Emperor Maximilian I (1519; Vienna), Dürer seems to sum up the results of many years of study human personality. However, in the portraits of this time, all of Dürer’s characters especially retain their unchanged character.
Self-Portrait, 1500 Dürer painted a large number of self-portraits. However, this one is the most famous. Why? In this portrait, Dürer depicted himself from the frontal view without any accompanying interior items. From the point of view of artistic skill, this painting amazing beauty and quality. Restraint and internal discipline shine through in a tense, deeply agitated and emotional appearance.
The concept of “Melancholia” has not yet been revealed, but the image of a powerful winged woman impresses with its significance and psychological depth. Woven from many shades of meaning, complex symbols and allusions, it awakens disturbing thoughts, associations, and experiences. Melancholy is the embodiment of a higher being.
The basis of the engraving “Knight, Death and the Devil” was the image of a staunch warrior from the ethical and theological treatise of Erasmus of Rotterdam “Instructions for the Christian Warrior”, but Dürer gave it his own interpretation. Contemporaries perceived this image as a symbol of energy and active human life.
In another “masterful engraving” by Durer - “St. Jerome in his cell” - the scientist was depicted, immersed in his work in an atmosphere of peace and quiet, slowly flowing time. Here Dürer embodied the ideal of a different type of life, which humanists called contemplative, associated with creativity, and which was also highly appreciated. Saint Jerome in his cell
This work contains a complex interweaving of medieval views with religious traditions, as well as experiences caused by the turbulent social events of those days. The allegorical nature, symbolism of images, the intricacy of complex theological concepts, and mystical fiction are preserved from the Middle Ages; from the images of ancient religiosity - clashes of spiritual and material forces, a feeling of tension, struggle, confusion and humility. Prodigal son
The Battle of the Archangel Michael with the Dragon In the engraving “The Battle of the Archangel Michael with the Dragon,” the pathos of the fierce battle is emphasized by the contrasts of light and shadow, and the restless intermittent rhythm of the lines. In the heroic image of a young man with an inspired and determined face, in a sunlit landscape with its boundless expanses, faith in the victory of the bright principle is expressed.
Opening of the Fifth and Sixth Seals Dürer's highest creative achievement of the late 15th century was a series of woodcuts of sixteen sheets (including the title page, different for different editions) on the theme of the Apocalypse, popular among the population of medieval Germany. These engravings, covered with a bizarre winding pattern of lines, permeated with a hot temperament, captivate with their vivid imagery and the power of imagination. They are also extremely significant for their skill. In this cycle, engraving is raised to the level of great, monumental art.
The Appearance of Christ and the Essence of the Seven Churches to John In the allegorical scenes, Dürer introduced images of representatives of different classes of German society, living real people, filled with passionate and anxious feelings and active action.
The surname Dürer comes from the Hungarian Aitoshi (Hungarian: Ajtósi). Image open door on the shield is a literal translation of the word that means "door" in Hungarian. Eagle wings and a man's black skin are symbols often found in southern German heraldry; they were also used by the Nuremberg family of Dürer's mother, Barbara Holper. Dürer was the first artist to create and use his coat of arms and the famous monogram ( capital letter A and D inscribed in it. Coat of arms of Albrecht Durer, 1523
Albrecht Dürer paid much attention to the improvement of defensive fortifications, which was caused by the development of firearms, as a result of which many medieval structures became ineffective. In his work “Guide to the Fortification of Cities, Castles and Gorges,” published in 1527, Dürer describes, in particular, a fundamentally new type of fortification, which he called basteia. The creation of a new theory of fortification, according to Durer himself, was due to his concern for protecting the population “from violence and unjust oppression.” According to Dürer, the construction of fortifications would give work to the disadvantaged and save them from hunger and poverty. At the same time, he noted that the main thing in defense is the stamina of the defenders.
At the end of his life, Dürer worked a lot as a painter; during this period he created the most profound works, which manifest his familiarity with Dutch art. One of the most important paintings recent years- diptych “The Four Apostles”, which the artist presented to the city council in 1526.
In the Netherlands, Dürer fell victim to an unknown disease (possibly malaria), from which he suffered for the rest of his life. He reported the symptoms of the disease - including a severely enlarged spleen - in a letter to his doctor. Dürer drew himself pointing to the spleen, in the explanation of the drawing he wrote: “Where the yellow spot is and where I point with my finger, it hurts.” Before last days Dürer was preparing his theoretical treatise on proportions for publication. Albrecht Dürer died on April 6, 1528 in his homeland in Nuremberg.
The end http://www.museum-online.ru http://smallbay.ru http://ru.wikipedia.org http://www.art-drawing.ru http://artchive.ru http:// www.bibliotekar.ru http://www.design-warez.ru Internet sites were used to create the presentation
Slide 1
Albrecht Durer
Durer Albrecht (1471–1528), German painter, draftsman, engraver, art theorist. The founder of the art of the German Renaissance.
Slide 2
Dürer studied jewelry making from his father, a native of Hungary, painting - in the workshop of the Nuremberg artist M. Wolgemut (1486–1489), from whom he adopted the principles of Dutch and German late Gothic art, became familiar with the drawings and engravings of the masters of the early Italian Renaissance (including A. Mantegni). During these same years, Dürer experienced a strong influence from M. Schongauer. In 1490–1494, during the obligatory journeys along the Rhine for a guild apprentice, Dürer made several easel engravings in the spirit of late Gothic, illustrations for “The Ship of Fools” by S. Brant, etc. The influence of humanistic teachings on Dürer, which intensified as a result of his first trip to Italy (1494–1495), manifested itself in the artist’s desire to master scientific methods of understanding the world, to in-depth study of nature, in which his attention was attracted by the most seemingly insignificant phenomena (“Bush of Grass”, 1503, Albertina collection, Vienna), and complex problems of connection in nature with color and the light-air environment (“House by the Pond”, watercolor, circa 1495–1497, British Museum, London).
Biography
Slide 3
Dürer was equally gifted as a painter, engraver and draftsman; Drawing and engraving occupy a large, sometimes even leading place in him. The legacy of Dürer as a draftsman, numbering more than 900 sheets, can be compared in vastness and diversity only with the legacy of Leonardo da Vinci. Drawing was apparently part of the master’s daily life. He brilliantly mastered all the graphic techniques known at that time - from silver point and reed pen to Italian pencil, charcoal, and watercolor. As for the masters of Italy, drawing became for him the most important stage of work on a composition, including sketches and studies of heads, arms, legs, and draperies. This is a tool for studying characteristic types - peasants, smart gentlemen, Nuremberg fashionistas. His famous watercolors “Piece of Turf” and “Hare” (Albertina, Vienna) were executed with such attention and cold detachment that they could illustrate scientific codes.
Slide 4
Dürer asserted a new Renaissance understanding of personality in portraits of this period (self-portrait, 1498, Prado). Dürer expressed the mood of the pre-Reformation era, the eve of powerful social and religious battles, in a series of woodcuts “Apocalypse” (1498), in the artistic language of which the techniques of German late Gothic and Italian Renaissance art organically merged. His second trip to Italy (1505–1507) further strengthened Dürer’s desire for clarity of images and orderliness compositional structures(“Feast of the Rosary”, 1506, National Gallery, Prague; “Portrait of a Young Woman”, Museum of Art, Vienna), a careful study of the proportions of the naked human body (“Adam and Eve”, 1507, Prado, Madrid). At the same time, Dürer did not lose (especially in graphics) the vigilance of observation, subject expressiveness, vitality and expressiveness of images characteristic of the art of late Gothic (cycles of woodcuts “The Great Passion”, about 1497–1511, “Life of Mary”, about 1502–1511, “Little Passion”, 1509–1511). The amazing precision of the graphic language, the finest development of light-air relations, the clarity of line and volume, the most complex philosophical underlying content are distinguished by three “masterful engravings” on copper: “Horseman, Death and the Devil” (1513)
Slide 5
Painting 1494-1514
Dürer's first significant work was a series of landscapes (watercolor and gouache, 1494-95), executed during a trip to Italy. These thoughtful, carefully balanced compositions with smoothly alternating spatial plans are the first “pure” landscapes in the history of European art. An even, clear mood, the desire for a harmonious balance of forms and rhythms determine the nature of Dürer’s paintings of the late 15th century. - beginning of the 2nd decade 16 in One of the main themes of Durer’s work in the 1500s. becomes a search for ideal proportions of the human body, the secrets of which he seeks by drawing naked male and female figures (Dürer was the first in Germany to turn to the study of nudes), summing them up in the copper engraving “Adam and Eve” (1504) and the large pictorial diptych of the same name ( ca. 1507, Prado).Dürer's years of creative maturity include his most complex, harmoniously ordered multi-figure pictorial compositions- made for one of the Venetian churches “Feast of the Rosary” (1506, National Gallery, Prague) and “Adoration of St. Trinity" (1511, Kunsthistorisches Museum, Vienna). “Feast of the Rosary” (more precisely, “Feast of Rose Wreaths”) is one of the largest (161.5x192 cm) and most major in intonation paintings by Dürer; it is closest to Italian art, not only in its motifs, but also in its vitality, the plethora of images (mostly portraits), the fullness of colors, the breadth of writing, and the balance of composition.
Slide 6
Portraits and self-portraits
The most important place in Dürer's pictorial heritage is occupied by the portrait. Already in the early portrait of Oswald Krehl (c. 1499, Alte Pinakothek, Munich), Dürer appears as an established master, brilliantly conveying the originality of character and internal energy of the model. Dürer’s uniqueness lies in the fact that the leading place among his early portraits is occupied by a self-portrait. The desire for self-knowledge that drove the hand of a 13-year-old boy (“Self-Portrait”, 1484, drawing with a silver pin, Albertina, Vienna) is further developed in the first three pictorial self-portraits ( 1493, Louvre; 1498, Prado; 1500, Alte Pinakothek, Munich), and in the last of them the master is depicted strictly from the front, and his regular face, framed by long hair and a small beard, is reminiscent of images of Christ Pantocrator.
Slide 7
Dürer worked equally successfully in the field of woodcut (wood engraving) and in the field of copper engraving. Following Schongauer, he turned engraving into one of the leading forms of art. In his engravings, the restless, restless spirit of his creative nature and the dramatic moral conflicts that worried him were expressed. A sharp contrast to his early, calm and clear paintings was his first large graphic series - 15 woodcuts on the theme of the apocalypse (1498). In his engravings, Dürer, to a much greater extent than in his paintings, relies on purely German traditions, manifested in the excessive expression of images, the tension of sharp, angular movements, the rhythm of breaking folds, and rapid, swirling lines.
Slide 8
Durer's merits
Dürer revolutionized Northern European art by combining the experience of Dutch and Italian painting. The versatility of aspirations was also evident in theoretical works Dürer (“Guide to Measuring...”, 1525; “Four Books on Human Proportions,” 1528). Dürer’s artistic quest was completed by the painting “The Four Apostles” (1526, Alte Pinakothek, Munich), which embodies four character-temperaments of people connected by a common humanistic ideal of independent thought, willpower, and perseverance in the struggle for justice and truth.
Slide 9
Dürer compiled the first so-called magic square in Europe, depicted in his engraving “Melancholy”. Dürer’s merit lies in the fact that he was able to write the numbers from 1 to 16 into the drawn square in such a way that the sum of 34 was obtained not only by adding the numbers vertically, horizontal and diagonal, but also in all four quarters, in the central quadrilateral and even when adding four corner cells. Dürer also managed to table the year of creation of the engraving “Melancholy” (1514)
Slide 10
Slide 12
- Drying organic liquids Wine spirit and its relatives
- Laboratory work: Production of methane and experiments with it Calcium carbide was used to dehydrate ethanol
- Model of error in the form of a random elementary function Mathematical model of measurement results of measurement error
- Questions for subject and object Basic geometric shapes