|
|
|
|
|
Albrecht Durer
|
|
Portrait_of_Erasmus
|
|
|
|
|
|
|
|
|
|
Click to Enlarge
|
| Albrecht_Durer
|
Portrait of Erasmus
new21/Albrecht Durer-593798.jpg
|
|
|
|
|
|
| 1520 Charcoal on paper, 37 x 27 cm Mus?e du Louvre, Paris In Brussels D?rer met Erasmus, the humanist scholar, and sketched his portrait which six years later he would use as the basis for an engraving. Born in Rotterdam in 1469, Desiderius Erasmus was the greatest European scholar of the 16th century. Using the philological methods pioneered by Italian humanists, he helped lay the groundwork for the historical-critical study of the past, especially in his studies of the Greek New Testament and the Church Fathers. His educational writings contributed to the replacement of the older scholastic curriculum by the new humanist emphasis on the classics. By criticizing ecclesiastical abuses, while pointing to a better age in the distant past, he encouraged the growing urge for reform, which found expression both in the Protestant Reformation and in the Catholic Counter-Reformation. Finally, his independent stance in an age of fierce confessional controversy - rejecting both Luther's doctrine of predestination and the powers that were claimed for the papacy - made him a target of suspicion for loyal partisans on both sides and a beacon for those who valued liberty more than orthodoxy.Artist:D?RER, Albrecht Title: Portrait of Erasmus Painted in 1501-1550 , German - - graphics : portrait |
|
|
b.May 21, 1471, Imperial Free City of Nernberg [Germany]
d.April 6, 1528, Nernberg
Albrecht Durer (May 21, 1471 ?C April 6, 1528) was a German painter, printmaker and theorist from Nuremberg. His still-famous works include the Apocalypse woodcuts, Knight, Death, and the Devil (1513), Saint Jerome in his Study (1514) and Melencolia I (1514), which has been the subject of extensive analysis and interpretation. His watercolours mark him as one of the first European landscape artists, while his ambitious woodcuts revolutionized the potential of that medium. D??rer introduction of classical motifs into Northern art, through his knowledge of Italian artists and German humanists, have secured his reputation as one of the most important figures of the Northern Renaissance. This is reinforced by his theoretical treatise which involve principles of mathematics, perspective and ideal proportions.
His prints established his reputation across Europe when he was still in his twenties, and he has been conventionally regarded as the greatest artist of the Renaissance in Northern Europe ever since.
|
|
|
|
|
|
|
