Wait a second!
More handpicked essays just for you.
More handpicked essays just for you.
History of printing and its effects
Biography of albrecht durer
History of printing and its effects
Don’t take our word for it - see why 10 million students trust us with their essay needs.
Albrecht Dürer was a German Renaissance artist known for his prints, and books on proportion. For over a hundred years, Knight, Death and Devil,(cat. 1) Saint Jerome in His Study,(cat. 2) and Melencolia I, (cat. 3) have been considered Dürer’s Meisterstiche, or “master prints.”1 There are several different interpretations of these 3 engravings, the imagery with in them, and their relation to each other. These Master Prints are probably the most written about of Dürer’s work. In the year 2014, we are at the 500-year anniversary of the creation of Melencolia I, and Saint Jerome in His Study, they still remain provocative, and mysterious.
Albrecht Dürer was born in 1471 to Albrecht Dürer the Elder, a goldsmith in Nuremburg, Germany. He was an adept draftsman at a very young age; this is obvious when observing his Self Portrait at Thirteen. (cat 4) When he reached fifteen years old he started to apprentice as an artist under Michael Wolgemut. After three years as his apprentice he traveled around Europe and also trained in Venice.2 He melded the idealism of the Italians with the realism and symbolism of the Germans. While his paintings were remarkable, his real impression was left by his printmaking.3
Dürer used both woodcut, and engraving techniques to create art prints that were easily reproduced, and spread to the masses. Woodcuts consist of carving away the negative space on a wood block leaving a relief that will be inked and then pressed with damp paper. Gold and metal workers had been using engraving probably since the dawn of civilization to decorate jewelry and armor. Shortly before Dürer’s time it was developed as a method of printmaking. In this technique a burin is used to carve away the lines that the artist wants to...
... middle of paper ...
...eflections on archetypal images.
Cologne: Taschen, 2010. 132. Print.
Clark Institute. "DÜRER'S SYMBOLISM."The Strange World of Albrecht Dürer.
Sterling and Franchise Clark Institue, n.d. Web. 2 May 2014. .
U.S. National Library of Medicine. "Four Humors - And there's the humor of
it: Shakespeare and the four humors." U.S National Library of Medicine. U.S. National Library of Medicine, 19 Sept. 2013. Web. 1 May 2014. fourhumors.html> Hideko, Ishizu. "Another Solution to the Polyhedron in Dürer's Melencholia: A
Visual demonstration of the Delian Problem." Aesthetics No. 13 (2009): 179-194. Japanese Society for Aesthetics . Web. 1 May 2014.
Albrecht Durer-Saint Jerome in His Study: In this engraving done in 1514 Durer depicts Saint Jerome hard at work at a desk. He appears to be reading or inditing some document that is very engrossing. He does not seem to descry the lion or the canine that are near the foot of his desk. A skull is optically discerned on the left side of the engraving sitting on the window ledge facing the interior of the room. It appears as though there is an imaginary line from Saint Jerome’s head to the cross that culminates at the skull, it is believed that this designates the contrast between death and the Resurrection. The canine is a symbol of adhesion often depicted in Durer’s works, while the lion is a component of the iconography of Saint Jerome. This engraving is often grouped with two other Durer engravings that betoken the three spheres of activity apperceived in Medieval times. Durer was an accomplished engraver, painter, printmaker, mathematician, and theorist.
In the two different depictions of the scene Betrayal of Christ, Duccio and Giotto show their different styles on how they compose their paintings. The first decision into the composure of the painting would be the comparison of the size of surface they chose to paint on. Duccio in comparison to Giotto chooses to work on a wooden panel no wider than a foot, and Giotto went with a plaster surface with a width of ten feet. This detail alone lets the viewer know that Giotto’s artwork is embedded in detail and visual consumption. The size difference is the factor between who see’s it and what they see; the fine details and symbolism of the narrative will be better understood if the viewer can see every detail.
Clark, W.G., and W. Aldis Wirhgt, eds. The Complete Works of William Shakespeare. Vol 2. USA: Nd. 2 vols.
In the years 1513 and 1514, Albrecht Durer completed what is now known together as the “Master Engravings,” Knight, Death, and Devil; St. Jerome in His Study; and Melencolia I. In general each print represents a different philosophical perspective on the “worlds respectively, of action, spirit and intellect.
The Art Bulletin, Vol. 57, No. 2 (Jun., 1975), pp. 176-185. (College Art Association), accessed November 17, 2010. http://www.jstor.org/stable/3049368.
Scholarly article used: Lucius Grisebach. "Kirchner, Ernst Ludwig." Grove Art Online. Oxford Art Online. 29 Nov 2011.
Artist and Humanist, Albrecht Durer is one of the most significant figures in the history f European art outside Italy during the Renaissance (Gowing 195). Portraying the questioning spirit of the Renaissance, Durer's conviction that he must examine and explore his own situation through capturing the very essence of his role as artist and creator, is reflected in the Self-portrait in a Fur Collared Robe (Strieder 10).
Cohen, Walter, J.E. Howard, K. Eisaman Maus. The Norton Shakespeare. Vol. 2 Stephen Greenblatt, General Editor. New York, London. 2008. ISBN 978-0-393-92991-1
Wilders, John. "The Problem Comedies." In Wells, Stanley, ed. Shakespeare: Select Bibliographical Guides. London: Oxford UP, 1973.
Mehl, Dieter. Shakespeare's Tragedies: An Introduction. Cambridge, New York, New Rochelle, Melbourne, Sydney: Cambridge U, 1986.
Clark, W. G. and Wright, W. Aldis , ed. The Complete Works of William Shakespeare. Vol. 1. New York: Nelson-Doubleday
Humor in William Shakespeare's Twelfth Night In Twelfth Night we see different types of humour. There is the witty
Shakespeare’s Personality. Ed. Norman N. Holland, Sidney Homan, and Bernard J. Paris. Berkeley: University of California Press, 1989. 116. - 134.
Wilders, John. "The Problem Comedies." In Wells, Stanley, ed. Shakespeare: Select Bibliographical Guides. London: Oxford UP, 1973.
Wilders, John. "The Problem Comedies." In Wells, Stanley, ed. Shakespeare: Select Bibliographical Guides. London: Oxford UP, 1973.