Science as a professional activity presentation. Science in the modern world. Introduction. Modern science. Basic concepts. The role of science in modern society. Science is a field of human activity aimed at processing objective knowledge
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Albrecht Dürer (German: Albrecht Dürer, 1471-1528) was a German painter and graphic artist, one of the greatest masters of Western European art of the Renaissance.
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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 are 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 outlook 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 the art of jewelry 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 by Italian masters.
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About the life and creative searches of Dürer give an idea created by him in 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.
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The son of a silversmith, a native of Hungary. He studied first with his father, then with the Nuremberg painter and engraver Michael Wolgemuth (1486-90). Mandatory for obtaining the title of master "years of wandering" (1490-94) he spent in the cities of the Upper Rhine (Basel, Colmar, Strasbourg), where he entered the circle of humanists and book printers. In Colmar, not catching M. Schongauer alive, from whom he intended to improve in the technique of engraving on metal, he studied his work, 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, apparently at the same time he began to work for him (until his death in 1519). In 1520-21 he visited the Netherlands (Antwerp, Brussels, Bruges, Ghent, Malin and other cities). Worked in Nuremberg.
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Description The canvas depicts a young Albrecht Dürer with a thistle (bluehead) in right hand, perceived as a symbol of the Passion of Christ. History of creation At the time of writing this self-portrait, Dürer was 22 years old. He created it in Strasbourg during his wanderings, before he returned to Nuremberg and married Agnes Frey, the daughter of a very 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 canvas to be a gift to Agnes Frey at the matchmaking. Albrecht Durer. Self-portrait. 1493 Louvre, Paris.
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Munich The sunniest city in Germany is located near the Alps and surrounded by picturesque lakes, there are more than 200 sunny days in a year. Only in this city you can see Dürer's Self-Portrait and a wonderful collection of Rubens' paintings in the Alte Pinakothek - the world-famous museum of fine arts, enjoy shopping on the most popular shopping street in Germany and have a cup of coffee in a Schwabing cafe, where Lenin, Thomas used to be Mann, Paul Klee and Wassily Kandinsky.
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This "Self-portrait" by Dürer is a vivid evidence of his concern for the approval of the social status of the artist. Carefully written out details of the costume show us the incomparable ability of the author 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." Durer's hands are folded as if they are lying on the 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 in the window is reminiscent of a trip to Italy that took place a few years earlier. Everything here works to reinforce a well-defined pathos; picture proclaims social significance painter, his right to inner freedom and own view of the world. In Dürer's time, this approach was innovative. Self-portrait (1498), Prado Museum, Madrid
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Albrecht Dürer (1471-1528) Completed by: Krapivina Lyudmila Pavlovna MKOU DOD AGO "Achitskaya Children's Art School"
research creative way artist; - based on historical documents, sources, scientific literature, to establish what role Dürer's work played on the development of the German Renaissance. P to get acquainted with the heritage of the great engraver, painter, draftsman Albrecht Dürer. Purpose: Tasks:
In the culture of the Renaissance in Germany, an exceptionally important role belonged to art. Late 15th - early 16th century became a period of short-lived, but brilliant flowering of German Renaissance painting and graphics, which, to a much greater extent than in Italy, retained a connection with the traditions of the Gothic, but gave artistic achievements of world significance.
The central place in the art of this period belonged to the work of Albrecht Dürer (1471-1528). Dürer had a universal talent: a versatile painter, a graphic artist who became the greatest engraver in Europe, he was also a scientist who dealt with the problems of linear perspective and proportion of 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 outlook 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 the art of jewelry and took up publishing; and Dürer's closest friend, Wilibald Pirckheimer, an outstanding humanist who introduced the young artist to new Renaissance ideas and the works of Italian masters.
“Saint Jerome in the Cell” The engraving “Saint Jerome in the Cell” reveals the ideal of a humanist who devoted himself to the comprehension of higher truths. In solving the theme, in everyday interpretation of the image of a 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 that subjugate many everyday details of the interior, protecting the scientist from the unrest and bustle of the world.
Emperor Maximilian I In the portrait of the imperious, proud and arrogant Emperor Maximilian I (1519; Vienna), Dürer, as it were, sums up the long-term study of the human personality. However, in the portraits of this time, all Dürer's characters especially retain their unchanging character.
Self-portrait, 1500 Dürer painted a large number of self-portraits. However, this one is the most famous. Why? In this portrait, Dürer portrayed himself full face without any accompanying interior items. In terms of artistic skill, this painting amazing beauty and quality. Restraint and internal discipline show through in a tense, deeply agitated and emotional appearance.
The idea 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 semantic shades, the most complex symbols and hints, it awakens disturbing thoughts, associations, experiences. Melancholy is the embodiment of a higher being.
The engraving "Knight, Death and the Devil" was based on the image of a steadfast warrior from the ethical and theological treatise of Erasmus of Rotterdam "Instruction to the Christian Warrior", but Dürer gave him his own interpretation. Contemporaries perceived this image as a symbol of energy, the active life of a person.
In another "masterful engraving" by Dürer - "St. Jerome in a cell” - the scientist was depicted, immersed in his work in an atmosphere of peace and silence, 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 the cell
This work carries a complex interweaving of medieval views with religious traditions, as well as experiences caused by the turbulent social events of those days. Allegoricalness, symbolism of images, intricacy of complex theological concepts, mystical fantasy are preserved from the Middle Ages; from the images of ancient religiosity - the clash of spiritual and material forces, a sense 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, by the restless intermittent rhythm of the lines. In the heroic image of a young man with an inspired and determined face, in a landscape illuminated by the sun with its boundless expanses, faith in the victory of a bright beginning is expressed.
Opening of the Fifth and Sixth Seals The highest creative achievement of Dürer at the end of the 15th century is a series of woodcuts and sixteen leaves (counting and title page, different for different publications) on the theme of the Apocalypse, popular among the population of medieval Germany. These engravings, covered with a bizarre winding ornament of lines, imbued with a hot temperament, capture with vivid imagery and the power of imagination. They are extremely significant in their craftsmanship. Engraving is raised in this cycle to the level of great, monumental art.
The Appearance of Christ to John and the Essence of the Seven Churches In the allegorical scenes, Durer introduced images of representatives of various classes of German society, living real people full of passionate and disturbing experiences and active action.
The surname Dürer comes from the Hungarian Aitoshi (Hungarian Ajtósi). Image open door on the shield is literal translation a word that means "door" in Hungarian. Eagle wings and the 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 famous monogram ( capital letter A and D inscribed in it. Coat of arms of Albrecht Dürer, 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 the bastei. Creation new theory fortification, according to Dürer himself, was due to his concern for protecting the population "from violence and unjust oppression." According to Durer, the construction of fortifications will 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 in which familiarity with Dutch art is manifested. One of the most important paintings of recent years is the diptych "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 until the end of his life. Symptoms of the disease - including a severe enlargement of the spleen - he reported in a letter to his doctor. Dürer drew himself pointing to the spleen, in the explanation to the drawing he wrote: "Where there is a yellow spot and what I point with my finger, it hurts me there." Before last days Dürer was preparing for publication his theoretical treatise on proportions. Albrecht Dürer died on April 6, 1528 in his homeland in Nuremberg.
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 When creating the presentation, Internet sites were used
Albrecht Dürer is a German painter and graphic artist, recognized as the largest European woodcut master, 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 practical guide for artists on German. Founder of comparative anthropometry. The first European artist to write an autobiography.
Parents: Barbara Holper AlbrechtDürer
From 1477 Albrecht attended a Latin school. At first, the father attracted his son to work in a jewelry workshop. However, Albrecht wished to paint. The elder Dürer, despite regretting the time spent on teaching his son, yielded to his requests, and at the age of 15 Albrecht was sent to the studio of the leading Nuremberg artist of that time, Michael Wolgemuth.
Drawings About a thousand drawings by Durer have survived: landscapes, portraits, sketches of people, animals and plants. Durer'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. His animalistic and botanical drawings are distinguished by high craftsmanship, observation, fidelity in the transfer of natural forms, characteristic of a natural scientist.
Self-portraits With Dürer, the formation of the North European self-portrait as an independent genre is connected. One of the best portrait painters of his time, he highly valued painting for the fact that it allowed the image of a particular person to be preserved for future generations. Biographers note that, having an attractive appearance, Dürer especially liked to portray himself in his youth and reproduced his appearance not without a “conceited desire to please the viewer”
Engravings Albrecht Dürer created 374 woodcuts and 83 copper engravings. For Dürer, engraving was not only a means of replication works of art and illustration of books, accessible to the general population, but also an independent industry visual arts. In addition, in engraving, unlike painting, new genres appeared earlier and took root more easily. In addition to traditional biblical and new antique ones, Dürer also developed everyday subjects.
Bookplates In the first years of the 16th century, the artist began to manufacture printed book signs, in total 20 bookplates by Dürer are known, of which 7 are in draft and 13 are finished. The artist completed his own ex-libris with the Dürer coat of arms in 1523. The image of an open door on the shield indicates the name "Dürer". Dürer was the first artist to create and use his coat of arms and famous monogram.
Stained glass Dürer left a significant contribution to the stained glass business as a designer: other glaziers created stained glass according to his schemes and sketches.
Dürer - scientist and theorist Dürer earned wide fame as a mathematician, first of all, a geometer geometric shapes and font design. The results obtained by him were highly appreciated in the works of subsequent centuries, and in the second half of the 19th century they were made scientific analysis. In the history of mathematics, Dürer is put on a par with famous scientists of his time and is considered one of the founders of the theory of curves and descriptive geometry.
Durer's magic square Durer made the so-called magic square depicted on one of his most perfect engravings - "Melancholy". Durer's merit lies in the fact that he managed to arrange the numbers from 1 to 16 in such a way that the sum 34 is obtained not only when they are added vertically, horizontally and diagonally, but also in all four quarters, in the central quadrangle, and even when adding numbers from four corner cells. The sum of any pair of numbers symmetrically located relative to the center of the square is 17. Dürer found a place in the table for the year of creation of the Melancholia engraving (1514). Dürer's "Magic Square" remains complex riddle. If we consider the middle squares of the first vertical, it is striking that changes have been made to them - the numbers have been corrected: 6 is corrected for 5, and 9 is obtained from 5. Undoubtedly, Dürer did not accidentally enrich his "magic square" with such details that cannot be overlooked.
Dürer's star and geographical maps In 1515, Dürer completed three famous woodcuts depicting maps of the southern and northern hemispheres starry sky and the eastern hemisphere of the Earth. These works of art are at the same time the most valuable monuments of science. On the geographical map Dürer, also made in collaboration with Stabius and Heinfogel, depicts the "Old World" - Europe, Asia and Africa, that is, the same areas that were mapped by Ptolemy
"Guide to measuring with a compass and ruler" "Guide ..." consists of four books that summarize the achievements of antiquity and the Middle Ages, and also include Dürer's personal discoveries. The first one gives definitions of the simplest geometric concepts in planimetry and stereometry and considers construction problems related to circles and segments. The second book discusses methods for constructing regular polygons by exact methods and approximate ones for those figures whose exact construction is impossible only with the help of a compass and straightedge. The third book is a guide to the use of the astrolabe and the jacobstab, sundial is considered. The fourth book outlines the beginnings of prospect theory. Dürer was the first to solve the problem of depicting a three-dimensional figure on a plane: it was proposed to apply orthogonal projection onto three mutually perpendicular planes, as is done in modern drawing.
"Four Books on Proportions" In the first book, the author included measurements of five human figures using a divider. In the second book, following Alberti, Dürer uses a scale similar to the so-called Alberti exempede to measure the human figure. However, unlike Alberti, Dürer does not measure a figure that is close to ideal, but its various variants (eight in total). In the third book of the treatise, he describes how to build a real human figure using distortions of proportions. Completes the third book "Aesthetic digression", in which the artist reveals his artistic principles
Fortification B last years In his lifetime, 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 the bastei. The creation of a new theory of fortification, according to Dürer himself, was due to his concern for protecting the population "from violence and unjust oppression." According to Durer, the construction of fortifications will 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.
A. Dürer Museum Dürer's house in Zisselgasse, where he lived and worked from 1509 until his death, was acquired by the city of Nuremberg in 1826. Initially, it was equipped with a memorial room. In 1871, on the anniversary of the artist, the house was transferred to the Albrecht Dürer House Society, since that time a museum has been operating in it. During the Second World War, the house was badly damaged, but was restored. The museum also hosts temporary exhibitions of the artist's original works. The Thirgertnertorplatz, next to which it is located, wears informal name"Dürer Square".
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Albrecht Dürer
Durer (Durer) Albrecht (1471-1528), German painter, draftsman, engraver, art theorist. The founder of the art of the German Renaissance.
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Durer studied jewelry with 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 the Dutch and German late Gothic art, got acquainted with the drawings and engravings of the masters of the early Italian Renaissance (including A. Mantegni). In the same years, Dürer experienced a strong influence of M. Schongauer. In 1490–1494, during the journeys along the Rhine, which were obligatory for a guild apprentice, Dürer made several easel engravings in the spirit of late Gothic, illustrations for S. Brant’s “Ship of Fools”, etc. The impact on Dürer of humanistic teachings, which increased as a result of his first trip to Italy (1494–1495), manifested itself in the artist's desire to master scientific methods knowledge of the world, to an in-depth study of nature, in which his attention was attracted by both the most seemingly insignificant phenomena (“Grass Bush”, 1503, Albertina collection, Vienna), and difficult problems connections in nature of color and light-air environment (“The House by the Pond”, watercolor, circa 1495–1497, British Museum, London).
Biography
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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 only be compared with the legacy of Leonardo da Vinci in its vastness and diversity. Drawing was, apparently, a part of the everyday life of the master. He brilliantly mastered all the graphic techniques then known - from a silver pin and a reed pen to an Italian pencil, charcoal, and watercolor. As for the masters of Italy, the drawing became for him the most important stage in the work on the composition, which includes sketches, studies of heads, arms, legs, draperies. This is a tool for studying characteristic types - peasants, elegant gentlemen, Nuremberg fashionistas. His famous watercolors "A Piece of Turf" and "The Hare" (Albertina, Vienna) are made with such intentness and cold detachment that they could illustrate scientific codes.
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Dürer asserted a new Renaissance understanding of personality in portraits of this period (self-portrait, 1498, Prado). The mood of the pre-reformation era, the eve of powerful social and religious battles, Dürer expressed 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. The second trip to Italy (1505-1507) further strengthened Durer's desire for clarity of images, orderliness compositional constructions(“Feast of the Rosary”, 1506, National Gallery, Prague; “Portrait of a Young Woman”, Museum of Art, Vienna), a careful study of the proportions of a naked human body (“Adam and Eve”, 1507, Prado, Madrid). At the same time, Dürer did not lose (especially in graphics) the vigilance of observation, subjective expressiveness, vitality and expressiveness of images characteristic of late Gothic art (cycles of woodcuts “Great Passions”, about 1497-1511, “Life of Mary”, about 1502-1511, "Small Passions", 1509-1511). The amazing accuracy of the graphic language, the finest development of light-air relations, the clarity of line and volume, the most complex philosophical underlying basis of the content distinguish three “masterful engravings” on copper: “The Horseman, Death and the Devil” (1513)
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Painting 1494-1514
Dürer's first significant work is a series of landscapes (watercolor with gouache, 1494-95) made 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. - the beginning of the 2nd decade 16 in One of the main themes of Dürer's work in the 1500s. becomes the search for the ideal proportions of the human body, the secrets of which he is looking for, drawing nude male and female figures (Dürer was the first in Germany to turn to the study of the nude), 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-figured pictorial compositions - the Feast of the Rosary (1506, National Gallery, Prague) and the Adoration of St. Trinity” (1511, Kunsthistorisches Museum, Vienna). “The Feast of the Rosary” (more precisely, “The Feast of Rose Wreaths”) is one of the largest (161.5x192 cm) and most major in terms of intonation painting work by Dürer; she is closest Italian art not only motives, but also life force, the fullness of images (mostly portraits), the full sound of colors, the breadth of writing, the balance of the composition.
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Portraits and self-portraits
The portrait occupies the most important place in Dürer's pictorial heritage. Already in the early portrait of Oswald Krehl (c. 1499, Alte Pinakothek, Munich), Dürer appears as an established master, brilliantly conveying the originality of the character, the internal energy of the model. The uniqueness of Dürer lies in the fact that a self-portrait occupies a leading place among his early portraits. The craving for self-knowledge, which led 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 in front, and his regular face, framed by long hair and a small beard, is reminiscent of the images of Christ the Pantocrator.
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Dürer equally successfully worked in the field of woodcuts (wood engraving) and in the field of engraving on copper. Following Schongauer, he turned engraving into one of the leading art forms. In his engravings, the restless, restless spirit of his creative nature was expressed, which worried him about dramatic moral conflicts. A sharp contrast to the early, calm and clear paintings was already his first large graphic series - 15 woodcuts on the themes of the Apocalypse (1498). In his engravings, Dürer, to a much greater extent than in paintings, relies on purely German traditions, manifested in the excessive expression of images, the intensity of sharp, angular movements, the rhythm of breaking folds, swift, swirling lines.
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Dürer's merits
Dürer revolutionized Northern European art by combining the experience of Netherlandish and Italian painting. The versatility of aspirations was also manifested in theoretical works Dürer (“A Guide to Measurement...”, 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, stamina in the struggle for justice and truth.
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Dürer made the first so-called magic square in Europe, depicted on his engraving "Melancholia". Dürer's merit lies in the fact that he managed to write numbers from 1 to 16 into the lined square in such a way that the sum 34 was obtained not only by adding numbers vertically, horizontals and diagonals, but also in all four quarters, in the central quadrilateral, and even when four corner cells are added. Dürer also managed to conclude in the table the year of creation of the engraving "Melancholia" (1514)
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"Art of the Northern Renaissance" - Town Hall in Antwerp. 1561-1564 Bosch embodied the world of demonic forces seeking to destroy a person. "Blind". Founder of the Northern Renaissance. Created famous engravings: "Apocalypse", Knight, Death and the Devil". Today we live, and tomorrow - who will predict? Friends, let's cheat death and drink for love!
"Renaissance Art in Italy" - Filippo Brunelleschi. The old and the new were in inseparable connection and confrontation. What did the humanists take as the basis of their principles? The main features of the art and culture of the Renaissance. Renaissance - "Renaissance") was Italy. Gioconda. Madonna and Child. Filippo Lippi. Heaviness and stability of forms.
"Renaissance lesson" - What are the features of the culture of the Renaissance? Page of an old book. Christmas. "The whole world is a theater, and the people in it are actors." Albrecht Durer. Utopia is a non-existent place. "Peasant painter" Pieter Brueghel the Elder Peasant dance. Leonardo da Vinci 1452-1519. Features of the culture of the Renaissance. The look, full of curiosity, shines.
"Renaissance Painting" - Early Renaissance. Northern Renaissance. Beginning of the Proto-Renaissance. trecento - 1300s. From Italian. cinquecento (five hundred). Prepared by: Mikhailova Maria Laskova Anastasia. Pieter Brueghel the Elder, The Blind, 1568, National Museum and Gallery of Capodimonte. From Italian. ducento (two hundred). High Renaissance. From Italian. quattrocento (four hundred).
"Brunelleschi" - Linear perspective. Gothic. Won the Brunelleschi Competition. In 1434 all work was completed. Dome structure. Filippo Brunelleschi is an innovator in architecture and linear perspective. Experiment #2 Inside, the system consists of a double dome, and the outer one has a raised vault. It is noteworthy that Brunelleschi carved the sky.
"The Art of the High Renaissance" - Self-portrait. What are the similarities and differences in the work of the artists of the Italian and Northern Renaissance? Targets: Rafael Santi. Erasmus of Rotterdam. Rembrandt. The most famous was the Sistine Madonna. High Renaissance. High Renaissance in art Grade 7 New story. Mona Lisa (La Gioconda). engravings.
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