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Albrecht Durer
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Apollo_with_the_Solar_Disc
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Apollo with the Solar Disc
new21/Albrecht Durer-952978.jpg
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| 1504 Pen, 285 x 202 mm British Museum, London The full title: Apollo with the Solar Disc and Diana Trying to Shield Herself from the Rays with Her Uplifted Hand. This variation on the Adam of the 1504 copperplate engraving was also conceived originally as a print, but was not engraved. The Adam of the print is more felicitous because of the contrast supplied by the turning of his head away from his extended free leg. The present drawing is finished to a great extent but not yet fully refined. The celestial background, rich in painterly effect, was added at a later stage. The original purpose was the depiction of the male figure alone, who represented the planetary god Sol. The rendering of the sun's rays is extremely noteworthy. The word "Apolo," written backwards with a view toward the engraving, is probably a substitute for the earlier name Sol; this would explain the conspicuous incongruity of the inscription and the space allotted to it.Artist:D?RER, Albrecht Title: Apollo with the Solar Disc Painted in 1501-1550 , German - - graphics : mythological |
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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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