Albrecht Durer paintings. Presentation for a reading lesson: a trip to the “museum house”. Illustration a

Albrecht Durer - famous German artist, painter, graphic artist, engraver. Born in 1471 in Nuremberg - died in 1528. He is a world-recognized artist, woodcut master and the greatest master of the Western European Renaissance. This artist is one of the most mysterious artists with an unusual view of art and worldview. Examining his work, one can see that Durer was an adherent of the Italian Renaissance and put a lot of medieval mysticism into his works. In addition to religious, mythical and mystical paintings, he painted portraits and self-portraits. A special place in his art can be given to engravings, which can be found in the publication.

Albrecht Dürer studied painting first from his own father, then from the painter from his hometown, Michael Wolgemut. In order to receive the Title of Master, he embarked on years of wandering, which was a necessary condition. Over the course of four years, he visited Basel, Colmar and Strasbourg, where he studied the intricacies of fine art and improved his knowledge. During a trip to Italy he created his first serious paintings- a series of landscapes. Here you can already feel the hand of a professional artist - clarity of composition, clearly thought out plan, even mood. In these works one can already see the hand and unique handwriting of Dürer. It is also worth mentioning that Dürer was the first in Germany to study the nude. He often resorts to depicting ideal proportions, which he showed in the painting “Adam and Eve.”

In 1495, Albrecht Dürer created his own workshop, and this was the beginning of his independent work. He was assisted by several artists and engravers: Anton Koberger, Hans Scheufelein, Hans von Kulmbach and Hans Baldung Green. In the Netherlands, the great artist fell victim to an unknown disease. This disease tormented him for the rest of his life. One story is connected with this: an unknown disease was accompanied by an enlargement of the spleen, and so, when he sent a letter to the doctor describing the symptoms, he included a drawing of himself, where he pointed to the spleen and signed “Where is the yellow spot and what I point my finger at, It hurts there." Just before his death, Dürer was preparing for publication his treatise on proportions for artists, but on April 6, 1528, he died and was buried in the John's cemetery in Nuremberg, where his grave remains to this day.

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Ecce Homo (Son of Man)

Self-portrait of Dürer in his mature years

Adam and Eve

Paumgartner Altar

Emperor Maximillian I

Emperors Charles and Sigismund

bush of grass

Madonna with a pear

Mary and Child with Saint Anne

Portrait of a woman

Portrait of Hieronymus Holzschuer

Portrait of a young Venetian woman

Already during his lifetime, Albrecht Dürer (1471 – 1528) had a reputation "the great among the greatest" artists of their time not only in their homeland, in Germany, but also abroad. The glory of the outstanding painter, graphic artist and engraver did not fade even after his death. In the history of fine arts, even a special term appeared - "Durrer Renaissance".

In Dürer's work, with the greatest artistic strength and originality, the tendency characteristic of German art in the first third of the 16th century was embodied - the combination of medieval national traditions with the Renaissance need for rationalistic knowledge and realistic image the surrounding world. The spiritual intensity of the Reformation era and the balanced beauty of antiquity, skillful sophistication and German simplicity and roughness are reflected in his original style.

From the craft of an engraver to the art of engraving

Dürer was the third of 18 children in the family of gold and silversmith Albrecht Dürer the Elder from Nuremberg. Between 1486 and 1489 he was apprenticed to the engraver Michael Wolgemuth, who collaborated with the major typographer A. Koberger, whose bookstores were scattered throughout Europe.

The parents' desire to make their son an engraver was quite understandable. With the advent of printing, this work turned out to be in great demand and well paid. In Wolgemut's workshop, the aspiring artist studied engraving and drawing techniques, and also, by making copies, became acquainted with examples of European fine art. Here the young man saw the works of the famous German copper engraver Martin Schongauer.

In Dürer’s time, painting, sculpture, and especially graphics were not included, unlike, for example, astronomy or philosophy, among "liberal arts" but were considered a craft. To be accepted into a craft workshop, an artist had to prove his right to be called a master by going around his native country, city after city, and confirming his professional worth with his own products. In 1490 - 1494

Dürer made the journey necessary to receive the title of master. No reliable information about the artist’s route has been preserved. It is assumed that he intended to meet with Schongauer, who, however, died shortly before his arrival. Dürer spent a long time in Basel, commissioned by the publisher-typographer Johann Amerbach to produce engraved* illustrations on wood for the comedies of Terence, “The Knight of Thurn” by Joffrey de la Tour-Landry and “The Ship of Fools” by Sebastian Brant.

Sebastian Brant's Ship of Fools, which ridiculed the morals of his contemporaries, was a bestseller in the 1490s. not in last resort thanks to Durer's illustrations. Apparently, during this final period of apprenticeship, the artist acquired the skills of engraving on copper and became familiar with the technique of etching.

In 1496, Dürer created a series of stunning, intensely dramatic engravings for the Apocalypse. The end of the century has always, and especially in the Middle Ages, been associated in people's minds with the expectation of the imminent end of the world. The Four Horsemen of the Apocalypse were supposed to appear in 1500.

Dürer wrote a whole series self-portraits. One of the most beautiful dates back to 1498, when the artist was 28 years old. Expensive, dandy clothes, a dignified face, an attentive look - this is a Renaissance man who believes in the power intelligence and beauty.

Journey to Italy

At the turn of the XV-XVI centuries. Dürer made his first trip to Italy. The artist's watercolor landscapes allow us to reconstruct his route: he traveled through Outsburg and Innsbruck, passed through the Brenner Pass and finally arrived in Venice. Here Dürer met the famous Bellini brothers and Jacopo de Barbari, on whose advice he began to study proportions.

Upon returning from Italy, Dürer opened his own workshop and began selling his engravings himself. In addition, during this period he created several altar paintings to order, for which he chose the form of a triptych in accordance with Dutch and Italian models. It is known that one of the customers was the Nuremberg dignitary Paumgartner, whose sons the artist depicted as knights on the doors depicting St. George and St. Eustathia.

Dürer is not only an outstanding painter and engraver, but also an excellent watercolorist and graphic artist. He left more than 1,000 drawings and watercolors. The artist mainly worked with silver pencil, brush, ink, pen and charcoal. Dürer's watercolor landscapes are strikingly accurate. You can reliably determine the place captured by the artist, establish the time of year and day.

Dürer made most of his watercolor landscape sketches in 1494–1496, especially many during his first trip to Italy. He was 23-25 ​​years old.

The sculptural plasticity of the figures, reminiscent of statues, anticipates the style characteristic of the master’s later works. Among the works of the turn of the century stands out self-portrait, painted by the artist in 1500

Durer's self-portrait of 1500 is one of the most famous works in world portraiture. On it the artist is not just an accomplished person, but a prophet, a messiah. Its symmetrical frontal composition is reminiscent of medieval depictions of Christ. This painting can be considered as the master’s reflection on the fate of the artist and his place in the world. A wise man, who has gone through a long path of suffering and search, this is the creator in the understanding of the mature Dürer.

The Virgin Mary in Durer's depiction (1503) is more of an ordinary city dweller, a contemporary of the artist, than the canonical image of the Mother of God.

Dürer was apparently perceived by his contemporaries primarily as an engraver. The artist’s creative heritage includes 350 woodcuts, 100 copper engravings and several etchings**. Dürer managed to achieve unity of space and physical volume of the characters and achieved almost photographic accuracy in his engravings.

Dürer's graphic and watercolor works reflected the Renaissance admiration for the beauty of the surrounding world, even in its most “insignificant” forms, combined with German thoroughness and attention to detail. One of the first, emphasizing the independent value of such works, the artist began to date and sign his drawings and sketches. "Herbs"(1503) were drawn by Durer with the precision of a biologist.

Painting "Adam and Eve" was written in 1507 When painting this picture, Dürer showed a very unconventional technique, since it depicts not one whole picture, but two engravings. The picture was painted with oil paints. In terms of size, these engravings were quite bulky and took up a lot of space; their dimensions were 200 m by 80 m. This work was exhibited in national museum Prado. The artist painted a picture specifically for the altar, but, unfortunately, it was never finished.

The painting “Adam and Eve” and its plot were created in the spirit of ancient times. The artist emphasized inspiration during his travels in Italy. The people depicted on the canvas are completely naked, everything is written down to the smallest detail, even their height, they are depicted in their true size. This is very important because according to the Bible, Adam and Eve are the ancestors of humanity, the first people who descended from heaven to earth and gave rise to the race of people.

The Bible says that Adam and Eve had many differences between themselves, which is why the author depicted them separately. But if you look more closely, you can see that the picture is a single whole - Adam is holding the branch, and Eve is holding the fruit that used to hang on it. A snake is drawn nearby, pushing people to pick the sacred fruit. You can also see a plaque in the painting indicating the author and the date the painting was painted.

In 1508 – 1509 Dürer worked on creating one of his best religious works - "Geller's Altar". Unfortunately, the central panel, which belonged to the brush of the artist himself and depicted the Ascension of Mary, has reached us only in a copy. However, from numerous preparatory drawings one can judge what impression this grandiose composition was supposed to make.

Master

By the end of the first decade of the 15th century. the artist gained recognition and material well-being. In 1509, Dürer became a member of the Nuremberg Great Council, which was a privilege for noble citizens. As a master engraver, he has no equal. In 1511, the artist published a series of woodcuts: “Great and Small Passions”, “Life of Mary”, “Apocalypse”.

In 1515 he received an order from Emperor Maximilian and performed allegorical humanistic cycles - "Arc de Triomphe" And "Procession". Dürer was the only artist to whom Maximilian assigned a lifetime annual annuity of 100 florins.

The rhinoceros shocked 16th century Europeans. It was presented to the Pope in 1512 by the Portuguese King Emanuel. The sketch of the monstrous beast made in the port was handed over to Dürer, who quite reliably reproduced the animal in his engraving "Rhinoceros" (1515). The engraving is made on wood. It was this image that had a tremendous influence on art.

Dürer endowed the rhinoceros with fabulous features. For example, on his back you can see another horn. He has a shield in front, and under his muzzle there are legendary armor. Some researchers are confident that these armor are not a figment of the artist’s imagination. Before the rhinoceros was presented to the pope, a whole performance was planned. The rhinoceros had to fight the elephant. It is likely that this armor was put on the animal precisely for this purpose. An eyewitness saw him wearing them and sketched him.

Dürer's creation became famous. It sold a large number of copies. Before XVIII century, this image was used in all biology textbooks. Salvador Dali created a sculpture depicting this animal. Dürer's Rhinoceros is still fascinating today. Most likely, the secret lies in the surprise that this unusual picture evokes.

In 1520, Dürer went to the Netherlands to obtain permission to continue paying annuities from the new Emperor Charles V. This trip was a triumph for the artist. Everywhere he received an invariably enthusiastic welcome; he met the most outstanding representatives of the creative elite of that time: artists Luke of Leiden, Jan Provost and Joachim Patinir, writer and philosopher Erasmus of Rotterdam. Upon his return, the artist created a whole gallery of paintings and engraving portraits of celebrities of the era, whom he personally met.

The image of an open door on the shield indicates the surname "Dürer". Eagle wings and black skin of a man 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), subsequently he had many imitators in this.

Dürer left not only an artistic, but also a theoretical legacy. In 1523 - 1528 he published his treatises “Guide to Measuring with Compasses and Ruler”, “Four Books on Human Proportions”. Albrecht Durer. " Portrait of an Unknown" (1524)

Among the works of the master in the last years of his life, the diptych stands out especially "Four Apostles"(1526). In this work, the artist managed to combine the ancient ideal of beauty with Gothic severity. The firm and calm faith with which this creation is filled, according to researchers, expresses Dürer’s solidarity with Luther and the Reformation. John, placed in the foreground, was Luther's favorite apostle, and Paul was the undisputed authority of all Protestants. Dürer wrote the diptych “The Four Apostles” two years before his death and presented it as a gift to the Nuremberg City Council.

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 my finger, that’s where it hurts.” Albrecht Dürer died on April 6, 1528 in his homeland in Nuremberg. Willibald Pirkheimer, as promised, composed an epitaph for his beloved friend: “ Under this hill lies what was mortal in Albrecht Dürer.”

The presentation will help to more fully present A. Dürer’s painting “Herbs” and will show that although Dürer painted large, multi-colored paintings for churches, all this did not prevent him from admiring ordinary herbs, unremarkable at a superficial glance. Only such attentive attention to every blade of grass underfoot allows the artist to discover its peculiarity, uniqueness, and discover beauty in the simple for future generations.

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A. DURER “HERBS” The artist Durer painted large multi-color paintings for churches, but all this did not stop him from admiring ordinary, unremarkable, at first glance, herbs. Presentation by teacher primary classes MBOU Lyceum No. 6 of Essentuki Shevchenko N.A.

A. DURER “HERBS” You can slide your finger along the stem, you can get dirty on the sticky milk, and you can cut yourself on the sharp leaf. – Do you remember what grass smells like? Can you imagine the smells of midsummer herbs? – Consider a fragment of “Herbs.” What associations do you have when looking at this piece of nature?

Pay attention to the different illumination: some leaves of grass were hit by a ray of sun, while others were in the shadows. And the artist noticed all this.

Such attentive attention to every blade of grass underfoot allows the artist to discover its peculiarity, uniqueness, and discover beauty in the simple for future generations.

A. Durer. Self-portrait at the age of 13. Silver pencil. 1484.

I praise the great skill of Albrecht Durer... Erasmus of Rotterdam
Albrecht Dürer is one of the greatest artists all over the world. In his book “Dialectics of Nature,” F. Engels names Dürer directly next to Leonardo da Vinci as one of the best representatives of the Renaissance.
The time when Dürer lived and worked was in many ways contradictory, difficult, and difficult for his homeland - Germany. The country was breaking up into a number of separate small states. In the cities there was a growing popular movement against the unlimited power of the rich.

A. Durer. Self-portrait with a flower. Oil. 1943

And we especially appreciate Dürer because in art and life he was faithful to humanistic ideals.
He was born in 1471 in the city of Nuremberg, which was one of the most advanced cities. Dürer's father was a simple worker and wanted to teach his son the same craft, but the boy was drawn to painting, and only to it. Dürer had to serve his master-painter, run for refreshments for him, and sweep the floors in the studio; endure the pushing around of senior apprentices.
He left his portrait of this time at the age of 13. It is made with a silver pin on paper coated with a special primer. The somewhat timid drawing is quite artistically successful. The boy on it is attentive and serious.
Dürer learned to grind paints, prime paper for painting, make brushes, and watched how a master worked. Free time spent on copying works of art that came his way. Dürer himself clearly understood all the shortcomings of such art education. Being already famous artist, he began to compile a “Training Manual for Boys Learning Painting,” one of the first in the history of art.
Dürer became a painter, and a good one at that. At the age of nineteen, having completed a long apprenticeship in Wolgemut’s workshop, he sets off on the “journey of an apprentice.” This custom was then widespread throughout Europe. Moving from city to city, working in one workshop or another, the young artisan mastered a variety of techniques, learned skills in different countries and from different persons. Dürer worked in Switzerland, Alsace, and visited Italy in 1495.

A. Durer. Melancholy. Fragment. Copper engraving. 1514.

He draws incessantly. Pen, pencil, charcoal. His attention is attracted by everything that can later be transferred to engravings. Most willingly and most of all, he draws a person. Soldiers, mercenary landsknechts who moved from country to country, offering their services for inexpensive pay; faces of contemporaries, ordinary and noble people. In 1493, having returned from his travels, he completed a picturesque self-portrait: Dürer has an attentive gaze, a serious expression on his face, and in his hand is a flower, perhaps having some meaning.
Of course, much in Dürer's early art is still imperfect. But he passionately seeks to find out if there are any rules that allow one to achieve truth and beauty in the art of reproducing.
Durer's first large series of engravings is "Apocalypse". They are permeated with feelings of uncontrollable anger, passion and pathos of struggle. The images in this series are in tune with the mood of the turbulent, contradictory era in which the artist lived.
Dürer also makes simpler engravings. He draws the “prodigal son” - a farm laborer feeding pigs in the yard of a wealthy farm, types of townspeople and figures of peasants. In his work, Dürer emerges as a master who gradually masters the ability to convey the real world as it is. The strokes in his engravings and in many surviving drawings become defined, bold, and strong. In his portraits, with bright, somewhat harsh colors, he captures the images of his friends - Nuremberg citizens, famous scientists of that time.

A. Durer. Saint Jerome in his cell. Copper engraving. 1514.

Dürer worked hard on his artistic and scientific education. His life is spent in hard work. He creates unusually meticulous watercolor drawings depicting animals and plants. Little bunny, ears flattened, a bush of grass, a bouquet of violets, a bird's wing are conveyed with a perfection that is difficult to surpass.
In 1506-1507, business, or perhaps a thirst for self-improvement, took him on a new journey, again to Italy. Dürer lives in Venice, where for the first time he felt like a free man, full of his own dignity. He meets outstanding Italian masters. Old Venetian artist Giovanni Bellini visits Dürer in his workshop. The following story has been preserved about this.
From Venice, Dürer returned to his homeland enriched with many things. His painting became richer, softer, more colorful. In his drawings and engravings, Durer depicts the surrounding reality, the people of his time - their character, costumes, and activities - even more accurately and truthfully. With a special interest in the psychological expression of an old man's face, Dürer made a charcoal portrait of his mother.

A. Durer. Hare. Watercolor, gouache. 1502.

Dürer is one of the few philosophical artists. In his art, deep realistic truth and fantastic fictions, suggested to the artist by the worldview of his era, strangely coexist. He often uses complex allegories and allegories and right there, in other drawings, he somewhat playfully shows the dancing of peasants. Carefully draws the inside of a sunlit room where Jerome, the legendary saint, is calmly working, writer-philosopher, who was said to have tamed a lion.
Dürer's life passed in constant work, artistic and scientific. The cause of his people was always his own cause. Images shown by Durer in “The Four Apostles” ordinary people, fighters for truth, are embodied by the artist strictly and strongly.
The image of the scientist and writer, humanist and thinker is captured in one of the most recent works - in the engraved copper portrait of the famous figure of his era, Erasmus of Rotterdam.
He is writing, with a pen in one hand, an inkwell in the other, in simple home clothes. In the foreground of the engraving, Durer skillfully depicted books and did not forget to place a vase of flowers on the scientist’s table.

(Self-portrait. 1500. Picture Gallery of the Old Masters, Munich.)

Albrecht Durer (German: Albrecht Durer, May 21, 1471, Nuremberg - April 6, 1528, Nuremberg) - greatest master Renaissance, German painter and graphic artist.

Dürer was born into the family of a jeweler, an immigrant from Hungary. His singing teacher in art was his own father, a gold and silversmith. That is why in Albrecht Dürer’s paintings every detail is always depicted with jeweler precision, every little detail is taken into account. Look, for example, with what subtlety every blade of grass in the painting “Bush of Grass” or every hair in the image of a bunny in the painting “Young Hare” is drawn, especially the bunny’s antennae.

(Bush of grass. 1503. Museum of Art, Vienna.)

It seems that the grass is about to rustle under a light breeze. And when you look at a bunny, you just want to reach out and touch its soft silky fur. Both of these paintings were painted in watercolor and gouache using very, very thin brushes. By the way, contemporaries noted that the artist loved to look closely at nature and was constantly interested in science.

(Young hare. 1502. Albertina Gallery, Vienna.)

When Albrecht was 15 years old, his father realized that his son had a penchant for painting and he sent him to study in the workshop of the famous Nureberg painter Michael Wolgemut. At this school, Dürer studied not only drawing, but also engraving on wood and copper. It is interesting that at this school, studies ended with a mandatory trip for graduates. After graduating in 1490, Albrecht Dürer visited several cities in Germany, Switzerland and Holland over four years. continuing to improve in fine arts and materials processing.

(Portrait of a young Venetian woman. 1505. Kunsthistorisches Museum, Vienna.)

In 1494 Dürer returned to his homeland in Nuremberg, and soon after his return he married in the same year. Then he leaves for Italy. In Italy he had several interesting acquaintances with the work of such masters of the era early Renaissance, like Mantegna, Polaiolo, Lorenzo di Credi and other masters. In 1495 Dürer returned to Nuremberg and there, until his next trip to Italy in 1505, he created most of his most famous engravings, which made his name so famous.

(Saint Eustathius. Approx. 1500-1502. State Museum Hermitage, St. Petersburg.)

Dürer was famous not only as a painter, but also as an outstanding master of graphics. Most of Albrecht Dürer's engravings depict biblical and evangelical subjects.

(Melancholy. 1514. State Hermitage Museum, St. Petersburg.)

Albrecht Durer also became famous as a great portrait painter. He was the best portrait painter in the entire history of world painting. The subjects of his portraits were always some very interesting and inspired people. The amazing thing is that all these people are depicted so realistically that it’s hard to believe that they were painted 500 years ago, when artists, in fact, were just beginning to learn how to paint realistic pictures. But the ancient costumes in the portraits convince us that Dürer, as a portrait painter, was far ahead of his era.

(Portrait young man. 1521 Art Gallery, Dresden.)

Thanks to his self-portraits, we can now judge what the artist himself looked like. Moreover, no one even doubts that his self-portraits are made no worse than photographs, if photography existed at that time.

(Portrait of Dürer’s father at the age of 70. 1497. London National Gallery, London.)

Look at his painting "Self-Portrait" from the Prado Museum in Madrid. Albrecht Dürer depicted himself in quite fashionable, even somewhat dapper, clothes of the time. He has a very fashionable hairstyle for those times, with his hair carefully curled and styled. His posture reveals him to be proud and smart person with self-esteem.

(Self-portrait. 1498. Prado Museum, Madrid.)

In 1520 the artist again travels to Holland. There he unfortunately falls victim to an unknown disease that tormented him for 8 years until the end of his life. Even modern doctors find it difficult to diagnose. Albrecht Durer died in his hometown in Nuremberg.

(Hands of a praying man. 1508. Albertina Gallery, Vienna.)

Albrecht Durer. Scientific activity.

Albrecht Durer was also an outstanding scientist. He knew mathematics, physics, astronomy very well and studied philosophy. Dürer wrote books about art and architecture, and wrote poetry. He maintained acquaintances with the most famous writers and philosophers of the time. Dürer drew several geographical and astronomical maps. IN last years During his life, Albrecht Dürer was interested in improving defensive fortifications. This was due to the advent and widespread use of firearms. Even in 1527, he wrote the book “Guide to the Strengthening of Cities, Castles and Gorges,” where he described his fundamentally new type of military fortifications.

(Durer's magic square, fragment of the engraving "Melancholy". 1514. State Hermitage Museum, St. Petersburg.)

Dürer composed his famous magic square, drawn on his engraving “Melancholy”. This magic square is interesting because he filled it so much with numbers in order from 1 to 16 that the sum of 34 is obtained not only by adding the numbers vertically, horizontally and diagonally, as required by the rules of any magic square. The sum 34 is obtained in all four quarters, in the central quadrilateral, and even when adding the four corner cells. Albrecht Durer also managed to fit into this magic square the year of creation of the engraving “Melancholy” - 1514. Pay attention to the middle two squares in the first vertical. It is clearly visible that Dürer corrected the mistake. The number 6 is corrected to 5, and 5 is corrected to 9. It remains a mystery whether the artist intentionally left us to see these corrections and then what is the point of us seeing these corrections.

(Rhinoceros, woodcut. 1515. British Museum, London.)

At first glance, Dürer's famous painting "The Rhinoceros" is unremarkable. Moreover, a careful comparison of this painting with a photograph of a real rhinoceros reveals several inaccuracies. The uniqueness of this painting lies in the fact that Albrecht Dürer never saw a living rhinoceros or its images. This picture is drawn from a verbal description. The rhinoceros was first brought to Europe from Asia to Portugal. Immediately a letter was sent to Dürer from Portugal with a verbal description of this amazing beast. At that time there were no telephones and Albrecht Dürer could not ask anything to clarify the details. To appreciate the degree of Durer's genius, try asking your friends to find some image of an exotic deep-sea animal or a fantastic animal and describe it to you once in writing. Then draw this animal according to this description and then compare it with the original image.

Like many outstanding people of the Renaissance, Albrecht Dürer was a universalist and distinguished himself in many fields. But still he valued painting more than all sciences. In one of his books you can read an interesting thought: “Thanks to painting, the dimensions of the earth, waters and stars have become clear, and much more will be revealed through painting.”