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Albrecht Durer
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Madonna_with_the_Swaddled_Infant_1520_Engraving
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Madonna with the Swaddled Infant 1520 Engraving
new21/Albrecht Durer-386422.jpg
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| 1520 Engraving, 144 x 97 mm Metropolitan Museum of Art, New York This late depiction of the Madonna and Child is almost genre-like. Only the halo indicates the holy nature of the group of figures. A human attitude is expressed in the loving way the mother is turning to her child, and this was intended to give the observer an emotional understanding of the Christian doctrine of salvation by encouraging "compassio," sympathy with the sufferings of Christ. D?rer recorded in his diary of the trip to the Low Countries that he gave away this print together with the Madonna Crowned by an Angel on four occasions (August 20, September 3, and late September 1520). Opinions of commentators vary greatly concerning this engraving. It could be noted that particularly great care was taken in the rendering of the hands of the Virgin and the head of Christ. The engraving is based or related to preliminary drawings.Artist:D?RER, Albrecht Title: Madonna with the Swaddled Infant Painted in 1501-1550 , German - - graphics : religious |
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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.
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