Academic literature on the topic 'Dürer, Albrecht, 1471-1528'
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Journal articles on the topic "Dürer, Albrecht, 1471-1528"
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Koepsell, Thomas D. "Albrecht Dürer (1471–1528)." Archives of Pediatrics & Adolescent Medicine 157, no. 8 (August 1, 2003): 718. http://dx.doi.org/10.1001/archpedi.157.8.718.
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Piro, Anna, Antonio Tagarelli, and Aldo Quattrone. "‘The Syphilitic’ by Albrecht Dürer (1471–1528)." Sexually Transmitted Infections 90, no. 7 (October 14, 2014): 544. http://dx.doi.org/10.1136/sextrans-2014-051597.
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Di Giacomo, C., and F. Trimarchi. "Virgin and child with Saint Anne by Albrecht Dürer (1471–1528)." Journal of Endocrinological Investigation 39, no. 3 (December 17, 2015): 355–56. http://dx.doi.org/10.1007/s40618-015-0416-2.
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Walton, Karen Doyle. "Albrecht Dürer's Renaislance Connections between Mathematics and Art." Mathematics Teacher 87, no. 4 (April 1994): 278–82. http://dx.doi.org/10.5951/mt.87.4.0278.
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The great German artist Albrecht Durer (1471-1528) is best known for his woodcuts, paintings, and copper engravings as well as the thousands of books and articles that have been written about him. However, the mathematics in Durer's work has been given inadequate recognition, except by the occasional mathematics or art historian who has appreciated the important connections Durer made between the two fields. The purpose of this article is to bring those connections to the readers of this journal.
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Rodrigues, Marcel Henrique. "Albrecht Dürer And The 16th Century Melancholy." VISUAL REVIEW. International Visual Culture Review 7, no. 2 (October 5, 2020): 95–108. http://dx.doi.org/10.37467/gka-revvisual.v7.2695.
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Little has been discussed in academia about the close relationship between the Renaissance of the 16th century and melancholy humor, and esoteric elements arising mainly from Florentine Neoplatonism. The link between melancholy and esotericism becomes very clear when we analyze the gravure “Melencolia I” by Albrecht Dürer (1471-1528), composed of a significant number of symbols that refer to an esoteric religious culture that then emerged. Renaissance melancholy gained several nuances. On the one hand, it was considered a sin, a despicable mood characteristic of witches; on the other hand, a deep sense of inspiration typical of men of “genius”. This ambivalence also occurred in the firmament, as the melancholic people were guided by the dark planet Saturn, according to astrological belief. We also have the cultural scenario of the 16th century, especially in Dürer's Germany, which contributed to strengthening the melancholy issues.
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Rodrigues, Marcel Henrique. "Albrecht Durer and the 16TH Century Melancholy." International Visual Culture Review 2 (June 10, 2020): 37–49. http://dx.doi.org/10.37467/gka-visualrev.v2.2547.
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Little has been discussed in academia about the close relationship between the Renaissance of the 16th century and melancholy humor, and esoteric elements arising mainly from Florentine Neoplatonism. The link between melancholy and esotericism becomes very clear when we analyze the gravure “Melencolia I” by Albrecht Dürer (1471-1528), composed of a significant number of symbols that refer to an esoteric religious culture that then emerged. Renaissance melancholy gained several nuances. On the one hand, it was considered a sin, a despicable mood characteristic of witches; on the other hand, a deep sense of inspiration typical of men of “genius”. This ambivalence also occurred in the firmament, as the melancholic people were guided by the dark planet Saturn, according to astrological belief. We also have the cultural scenario of the 16th century, especially in Dürer's Germany, which contributed to strengthening the melancholy issues.
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Rodrigues, Walace. "Desconstruindo Discursos de Diferença na Escola." Educação & Realidade 42, no. 2 (February 23, 2017): 687–706. http://dx.doi.org/10.1590/2175-623657231.
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Resumo: Este artigo busca compreender algumas representações artísticas de homens negros nas artes ocidentais (do século XV ao XIX). A análise aqui se volta para a área da educação, pretendendo-se compreender como o discurso da diferença é construído, também, através da arte. Os exemplos de obras artísticas neste escrito são de: Dürer (1471-1528), Rubens (1577-1640), Debret (1768-1848) e Rugendas (1802-1858). Todos esses são artistas importantes dentro da história da arte ocidental. Pretende-se, através das referidas obras analisadas, um entendimento das imagens do homem negro representado em estilo de retrato. Esses trabalhos de arte são Cabeça de um Negro, de Albrecht Dürer; Cabeça de um Homem negro, de Peter Paul Rubens; Diferentes Nações Negras, Jean-Baptiste Debret; e Moçambique, de Johann Moritz Rugendas.
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Silver, Larry. "Branding Baldung." Arts 10, no. 4 (October 14, 2021): 70. http://dx.doi.org/10.3390/arts10040070.
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Hans Baldung (1484/85–1545) emerged as an artist under the shadow of Germany’s most famous contemporary artist, Albrecht Dürer (1471–1528), thus as a younger rival with considerable catching up to do. His time as a young artist with Dürer in Nuremberg (1503-ca. 1507) prompted Baldung to develop his own innovative imagery, even as it prepared him with the skills of later activity in drawings, woodcut prints, and, finally, paintings. Nuremberg also gave him his first contacts with prestigious patrons, local at first but also farther away, surely through Dürer’s well established network to nobility in Saxony. Afterward, once he was out on his own, Baldung quickly turned his acquired skills and recognizable style into his own definitive, deeply pessimistic imagery about human limitations and mortality, especially when measured against the awesome, holy magnitude of Christ and the saints.
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Cansi, Lislaine Sirsi. "“No canto do mundo do capital”: sobre experiência, educação e arte." Revista Educação, Artes e Inclusão 16, no. 1 (January 1, 2020): 34–56. http://dx.doi.org/10.5965/1984317816012020034.
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Este artigo apresenta uma discussão a partir de uma prática permeada pelo conceito de experiência e pela sensibilidade. Para isso, o conceito de experiência é revisitado em autores como Jorge Larrosa (2015), Walter Benjamin (1994) e John Dewey (2010; 2011) e a “educação (do) sensível” é fundamentada a partir da reflexão de João Francisco Duarte Júnior (2010), voltada aos campos da Educação e da Arte. A prática ocorreu em um shopping em busca de experiência, foi nomeada como “No canto do mundo do capital”, narrada no segundo momento do texto. Como fechamento, um eixo de sistematização da experiência relacionado aos aspectos sociais se desdobra para o campo da Arte, especificamente relacionado a categorias de obras dos artistas Andy Warhol (1928 – 1987), Maryam Jafri (1972), Andreas Gursky (1955), Albrecht Dürer (1471 – 1528), David Hockney (1937), Jeff Wall (1946), Nam June Paik (1932 – 2006) e Bruce Nauman (1941), e possibilita pensar em Educação. Nessa discussão, será estabelecida à prática uma relação teórico-reflexiva que a aponte como “experiência”.
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Eisler, Colin. "Christine Vogt. Das druckgraphische Bild nach Vorlagen Albrecht Dürers (1471–1528): Zum Phänomen der graphischen Kopie (Reproduktion) zu Lebzeiten Dürers nördlich der Alpen. Aachener Bibliothek 6. Munich: Deutscher Kunstverlag, 2008. 526 pp. index. illus. bibl. $118. ISBN: 978–3–422–06803–2." Renaissance Quarterly 62, no. 1 (2009): 259. http://dx.doi.org/10.1086/598428.
Full textDissertations / Theses on the topic "Dürer, Albrecht, 1471-1528"
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Pereira, Rafaele Sabrina Barbosa. "Entre astros, cometas e constela??es: percep??es de uma organiza??o do espa?o m?tico nas gravuras renascentistas de Albrecht D?rer (1471-1528)." PROGRAMA DE P?S-GRADUA??O EM HIST?RIA, 2015. https://repositorio.ufrn.br/jspui/handle/123456789/22442.
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Cometas, planetas, luas e constela??es foram, ao longo de civiliza??es, representados por pintores, arquitetos e escultores por meio de imagens e mapas celestes e mapas zodiacais. Na cultura renascentista, essas imagens estiveram, por exemplo, nas ab?bodas do pal?cio de Schifanoia em Ferrara, tal como em diversas gravuras de Albrecht D?rer, como apontou Aby Warburg e, posteriormente, Erwin Panofsky. Nessa escrita, apontamos que as gravuras, a saber, O sifil?tico (1494), O astr?nomo (1500) e A mulher com zod?aco (1502), Melencolia I (1514), atribu?das a D?rer, poderiam fazer parte de temas, especialmente, da astrologia, recorrentes em outras gravuras de seu per?odo. Para isso, partiremos da rela??o entre imagem e texto presente nas imagens elencadas, de acordo com a perspectiva de W.J.T. Mitchell. Assim, visamos entender como as imagens podem, atrav?s de sua visualidade, ajudar a compor um per?odo em que o pensamento era concebido por determinadas correspond?ncias entre o homem e os astros, a partir da ideia do homem como um microcosmo. Assim sendo, para entender essa dada forma de se organizar atrav?s de um espa?o correspondente, ou atrav?s de uma vis?o de mundo, no qual os astros tinham lugar especifico, apontamos para a categoria espa?o m?tico tal qual apontada segundo a perspectiva do ge?grafo Yi-Fu Tuan.
Comets, planets, moons and constellations, were throughout civilizations, represented by painters, architects and sculptors through pictures, celestial maps and zodiacal maps. In Renaissance culture these images were, for instance, in the vaults of the Schifanoia Palace in Ferrara, as well as in several prints by Albrecht D?rer as pointed by Aby Warburg and later, Erwin Panofsky. In this writing, we point out that the pictures, namely, The Syphilitic (1494), Astronomer (1500) and The Woman with Zodiac (1502), Melencolia I (1514) attributed to D?rer could be part of subjects, especially, astrology, recurring in other prints in hisage. In order to develop this idea, we start from the relationship between picture and text present in the listed images, according to the perspective of WJT Mitchell. Thus, we aim to understand how pictures can through their visuality helped the composing of a time when the thought was conceived by certain correspondences between man and the stars, from the idea of mankind as a microcosm. Therefore, to understand this given way to organize life through a corresponding space or through a worldview in which the stars had a specific place, we point to the category mythical space as it is presented in the geographer Yi-Fu Tuan?s perspective.
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Pack, Stephen F. "Revelatory geometries : the treatises of Albrecht Dürer." Thesis, McGill University, 1996. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=27477.
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The treatises of the German artist Albrecht Durer (1471-1528) reveal the first instances of modern means of architectural representation. These works, the Underweysung der Messung (1525) and the Vier Bucher von Menschlicher Proportion (1528), employ an unprecedented degree of graphic projection to render visual various geometrical and architectural figures. Nevertheless, Durer's obsessive interest in geometry and visualisation is not necessarily expressive of a strictly modern intentionality. Although his treatises have some continuity with the reductive techniques of contemporary practice, they were formulated in a traditional world and manifest many of its concerns. This thesis elucidates the interplay between these aspects of Durer's mathematical corpus. It proceeds by articulating both the traditional underpinnings of his work and his patent struggles with its modern implications. By revealing the original density of meaning inherent in modern means of architectural representation, this study questions the contemporary prejudice that such means are merely neutral instruments.
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Minty, Mary. "Albrecht Dürer's "St. Jerome in his study" of 1514 : a reassessment." Thesis, McGill University, 1985. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=63349.
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Rücklin, Françoise. "La condition humaine d'après Dürer : essai d'interprétation symbolique des Meisterstiche." Paris 4, 1986. http://www.theses.fr/1986PA040325.
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Cette thèse d'état repose sur l'analyse symbolique par les "quatre sens" -littéral, allégorique, moral et anagogique-, courante à l'époque de Dürer et trop oubliée aujourd'hui, des trois chefs-d’œuvre du burin que sont Le chevalier, la mort et le diable, Melencolia i et Saint Jérôme dans sa cellule, le premier de 1513, les deux autres de 1514. Cet examen méthodique et minutieux, dont la rigueur s'appuie sur l'étude directe des sources -méconnues souvent, inconnues parfois- qui ont nourri l'intelligence et l'art de Dürer, conduit à s'intéresser à l'ensemble des productions de l'artiste ainsi qu'à l'histoire totale de son époque. Il prouve, non seulement que ces trois gravures forment bien un tout, mais que les significations diverses autant que nombreuses que leur auteur leur a données, concourent à traduire sa conception de la condition humaine, doublée d'une réflexion du graveur sur lui-même ainsi que sur l'empereur Maximilien, cette dernière réflexion fournissant la clef de la plupart des énigmes posées par Melencolia i. La méditation sur la condition humaine est, ainsi que, preuves à l'appui, le montrent introduction et conclusion, une réflexion que Dürer a menée à travers toute sa production, puisqu'elle commence avec la fulgurante interrogation de l'apocalypse et ne s'achève qu'avec la certitude ardente et douce tout à la fois des quatre apôtres. Il est remarquable que les œuvres les plus importantes de l'artiste dans ce contexte soient, non seulement ses œuvres majeures dans chacune des disciplines ou il excella, mais le fruit de sa seule nécessité intérieure, puisqu'elles ne furent jamais le résultat de commandes. La trilogie des Meisterstiche y présente la méditation de Dürer sur le terrestre pèlerinage de l'homme. (. . . )
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Rodrigues, Kethlen Santini. "O surgimento da imagem da bruxa nas artes visuais : bruxaria e sexualidade nas obras de Albrecht Dürer e Hans Baldung Grien." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2018. http://hdl.handle.net/10183/185237.
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Esta investigação analisa um número determinado de obras em gravura e desenho de Albrecht Dürer (1471 - 1528) e Hans Baldung Grien (1484 - 1545) residentes nos territórios germânicos da Europa no período do Renascimento, produzidos entre 1497 e 1545. Constata-se que o corpo da bruxa concebido na Europa pré-moderna foi um corpo carregado de preceitos excessivamente masculinos e opressivos. É reconhecido também que, independente das pretensões dos artistas, fosse para desenvolver suas faculdades imaginativas, fosse para melhorar seu status social e econômico, a capacidade de criação do artista resultou numa imagem feminina adulterada. Para compreensão dos recursos culturais, políticos e sociais dos artistas em questão, analisou-se no primeiro capítulo, as perspectivas historiográficas de uma teorização da bruxaria, divididas em duas principais concepções: a crise na fé cristã e a questão de gênero. Após a publicação dos primeiros incunábulos no final do século XV, em especial o primeiro tratado inquisitorial ilustrado, De Laniis et phitonicis mulieribus (1489) de Ulrich Molitor, no segundo capítulo, observou-se o início de uma tradição iconográfica específica na Europa e a instauração da representação da bruxaria no âmbito das Artes Visuais por Albrecht Dürer, que estabeleceu dois modelos de representação, a bruxa de corpo grotesco e a bruxa de corpo afrodisíaco. No terceiro e último capítulo, analisou-se as obras do discípulo de Dürer, Hans Baldung Grien, que no decorrer da sua trajetória artística, tornou o corpo da bruxa protagonista de seus trabalhos. Elementos como a forquilha, os cabelos soltos, o corpo nu e os voos em animais são sancionados por ele e, de modo consequente, de seus contemporâneos. Assim, a última tarefa nesta parte foi apresentar uma herança iconográfica oriunda da tradição estabelecida por Dürer e Hans Baldung, como nas obras de Lucas Cranach, Peter Bruegel, Frans Francken, entre outros.This research analyzes a number of engraving and drawing works by Albrecht Dürer (1471 - 1528) and Hans Baldung Grien (1484 - 1545) residing in the Germanic territories of Europe during the Renaissance period, produced between 1497 and 1545. The body of the witch conceived in Early modern Europe will be a body laden with excessively masculine and oppressive precepts. It is also recognized that, regardless of the artists' pretensions, whether to develop their imaginative faculties or to improve their social and economic status, the artist's creative capacity has resulted in an adulterated female image. In order to understand the cultural, political and social resources of the artists in question, the historiographical perspectives of a theorizing of witchcraft were analyzed in the first chapter, divided into two main concepts: the crisis in the Christian faith and the question of gender. After the publication of the first incunabula, at the end of the 15th century, in particular the first illustrated inquisitorial treatise De Laniis et phitonicis mulieribus (1489) by Ulrich Molitor, the second chapter notes the beginning of a specific iconographic tradition in Europe and the establishment of representation of witchcraft in the field of Visual Arts by Albrecht Dürer, who established two models of representation, the grotesque body and the aphrodisiac body of the witch. In the third and last chapter, the work of Dürer's disciple, Hans Baldung Grien, who in the course of his artistic career, made the witch's body the protagonist of his works analyzed. Elements such as the fork, loose hair, naked body and flights on animals are sanctioned by him and, consequently, by his contemporaries. Thus, the last task in this part is to present an iconographic heritage derived from the tradition established by Dürer and Hans Baldung, as in the works of Lucas Cranach, Peter Bruegel, Frans Francken, among others.
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Pellé, Anne-Sophie. "Aemulatio Italorum, la réception des estampes de Mantegna par Dürer et ses contemporains germaniques : la gravure comme agent d'émulation culturelle à la Renaissance." Thesis, Tours, 2016. http://www.theses.fr/2016TOUR2006.
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Au début du XVIè siècle, le territoire germanique apparaît comme le foyer de réception non seulement le plus important mais aussi le plus fécond des estampes du peintre italien Andrea Mantegna (1431-1506). De Dürer à Peter Vischer à Nuremberg, de l’atelier d’Ulrich Apt à celui de Jörg Breu l’Ancien à Augsbourg, d’Hans Baldung Grien à Matthias Grünewald dans les régions rhénanes, d’Urs Graf à Jörg Schweiger en Suisse, de l’atelier d’Altdorfer implanté à Ratisbonne à celui de Wolf Huber situé à Passau : tous les centres artistiques et humanistes du monde germanophone sont concernés. Inscrite dans la problématique des transferts culturels, cette thèse vise à montrer, par une approche résolument pluridisciplinaire, que la réception des modèles gravés italiens en Allemagne ne se borne pas aux emprunts formels et stylistiques, mais s’intègre dans une réflexion sur l’émulation, qui tient compte des spécificités à la fois historiques et culturelles du Saint Empire Romain germaniqueDuring the early 16th century the German territory was not only the most important but also the most fruitful center for the circulation of Italian painter Andrea Mantegna's (1431 - 1506) prints. From Dürer to Peter Vischer in Nuremberg, from Ulrich Apt's workshop to Jörg Breu the Elder in Augsbourg, from Hans Baldung Grien to Matthias Grünewald in Alsace, from Urs Graf to Jörg Schweiger in Switzerland, Altdorfer's workshop, located in Regensburg to Wolf Huber's in Passau. Basically all artistic and humanist centers in the German-speaking world were concerned. This thesis takes as its primary object the problematic of cultural transfers and aims at showing, through a multidisciplinary approach, that the German reception of Italian engravings is not only limited to formal and stylistics aspects but it is integrated in a reflection regarding the emulation, which will take into account both historical and cultural particularities of the German Sacred Roman Empire
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Louzon, Danielle. "L' oeuvre comme expression sensible de soi." Paris 7, 2012. http://www.theses.fr/2012PA070116.
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L'acte créateur consiste en l'édification d'une représentation somatopsychique qui, par mise en résonance, emprunte, en la modifiant, à la représentation psychique forgée sur le modèle somatique. Trauma et satisfaction en constituent la clé de voûte. Cette représentation nouvelle est cicatrice et blessure dans un dedans/dehors pour un gain de plaisir érogène narcissique. Par cette mise en résonance, l'acte créateur est potentiellement inducteur de passages à l'acte par la mise en résonance spéculaire. La représentation-œuvre, somatopsychique, réalise une extension remodelante ou une vicariance de la représentation psychique et une séparation. Elle requiert, de la part du Je créateur, une conscience de scène intermédiaireThe creative act consists of building a somatopsychique representation which, through resonance, borrows, in the changing, to the mental representation built on the somatic model. Trauma and satisfaction are the key. This new representation is SCAR and injury in an inside/outside for a gain of narcissistic erogenous pleasure. Through this resonance, the creative act is potentially inducing passages to the Act by implementing the specular resonance. The representation-work, somatopsychique, is an extension of remodeling or a vicariance of mental representation and separation. It requires, on the part of I creator, a consciousness of intermediate stage
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Rakovsky, Daniel. "Les deux côtés du visage : dissymétrie et construction du portrait à la Renaissance." Thesis, Paris 4, 2014. http://www.theses.fr/2014PA040197.
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Tout visage est structuré selon un ordre symétrique. La thèse explore les conséquences de cette spécificité formelle du visage sur la construction du portrait dans le contexte spécifique de la Renaissance. Elle débute par une remise en cause de l’approche neuropsychologique qui fait de la dissymétrie et de la partition du visage dans le portrait la simple expression d’un donné physionomique. À travers une réflexion autour de la symétrie et de la dissymétrie dans l’ordre de la représentation, notre recherche rend compte de l’intérêt de ces catégories esthétiques pour la compréhension des enjeux formels et philosophiques propres à la construction du portrait. Elle révèle également la richesse et la complexité des significations allouées à la symétrie et à la dissymétrie dans le cosmos culturel de la Renaissance, celles-ci allant parfois à contre-courant de nos représentations contemporaines. Une dernière partie de cette recherche est consacrée au symbolisme théologique séculaire distinguant entre le côté droit et le côté gauche du visage, un côté tourné vers le céleste, l’autre vers le terrestre, et à son influence sur l’art du portrait. La démonstration est rythmée par diverses études de cas, parmi lesquelles des analyses approfondies de portrait peints par Jan Van Eyck, Giovanni Bellini, Raphaël et Albrecht DürerEvery face is structured in a symmetrical order. This research paper explores the consequences of this formal specificity on the construction of the portrait in the particular context of the European Renaissance. It starts with a critique of the neuropsychological approach that makes the asymmetry and the distinction between the two sides of the face in the portrait the mere expression of a particular physiognomy. Through a reflection on the aesthetic categories of symmetry and asymmetry in the order of representation, the research demonstrates the interest of these concepts for the understanding of the formal and philosophical issues specific to the construction of portraits. It also reveals the richness and complexity of meanings assigned to symmetry and asymmetry in the cultural cosmos of the Renaissance, these ones sometimes going against the grain of contemporary representations. The final section is devoted to the secular theological symbolism distinguishing between the right side and the left side of the face, one side turned to the heavenly, the other to the earthly, and the resulting influence on the art of portraiture. The demonstration is punctuated by various case studies, including an in-depth analysis of portraits painted by Jan Van Eyck, Giovanni Bellini, Raphael and Albrecht Dürer
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San, Payo Manuel 1958. "O desenho em viagem : album, caderno ou diário gráfico, o album de Domingos António Sequeira." Doctoral thesis, 2009. http://hdl.handle.net/10451/2732.
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Partindo dos casos paradigmáticos de Leonardo da Vinci, com a sua extensa produção de códices manuscritos e de Albrecht Dürer, com o seu pequeno álbum de viagem aos Países Baixos, pretendemos sublinhar a coincidência da utilização do álbum ou caderno de desenhos na emergência do autor ou indivíduo como artista e como estes se revelam um suporte de excelência, reflectindo uma atitude directamente relacionada com o processo artístico em que o artista se projecta numa auto-referencialidade que antecede a obra através do desenho.
O álbum de artista quer-se, no limite, uma presença constante tornando-se assim um suporte cúmplice e confidente do processo artístico quotidiano. Será nesse caso a base ideal para o registo da auto-reflexão e da auto-representação. O álbum acompanha o artista nas suas deambulações e nas suas viagens reflectindo as suas vivências e adquirindo um carácter auto-biográfico. Entendemos aqui a vida do artista, mesmo que apenas em fragmentos, como uma ou suas várias viagens metafóricas de indagação e curiosidade artística.
A escolha do álbum de desenhos de Domingos António de Sequeira pretende confirmar a ideia de auto-referencialidade que regressa no caso de um dos mais importantes e polémicos artistas desenhadores na passagem do século XVIII para o século XIX e que já podemos encontrar no álbum de desenhos das Antigualhas de Francisco de Holanda. Reflectindo vários períodos da sua vida como artista, o álbum de desenhos de Sequeira reúne num único exemplar e apesar das várias interrupções e lacunas cronológicas, aquilo a que hoje consideramos um ―diário gráfico‖.
A parte prática desta dissertação apresenta-se de novo e de forma circular, no formato de um ―diário gráfico‖ resultando de desenhos e apontamentos recolhidos de diversos cadernos produzidos em paralelo com a investigação.Beginning with the paradigmatic cases of Leonardo da Vinci, with his large production of manuscripts and Albrecht Dürer with his little sketchbook from his voyage to the Netherlands, we want to stress the coincidence in the usage of those sketchbooks with emergence of the author or the individual as an artist and these implements show themselves as supports of great value. They reflect an attitude that relates directly to the artistic process and show how the artist projects himself by means of a self-reference that precedes the work of art itself through drawing. The artist‘s sketchbook is supposed to be, in the end, a constant presence, becoming thus an accomplice and a confident of the daily artistic process. I t becomes, in this case, the ideal support for the registering of a self-reflection and a self-representation. The album accompanies the artist in his travels and wanderings, reflecting his living and acquiring an autobiographical character. We acknowledge here the life of the artist, even only from some fragments, as one or several metaphorical travels of study or artistic curiosity. By choosing Domingos António de Sequeira‘s sketchbook we want to confirm this idea of self-reference, apparent in one of the most important and polemical drawing masters in the transition of the XVIIIth to the XIXth century. We can already find this same idea in Francisco de Holanda‘s sketchbook of his Antigualhas. Reflecting various periods of his life as an artist, Sequeira´s sketchbook summons in itself, even overlooking some lapses of time, that what we would consider today as a ―graphic diary‖. The practical part of our work presents itself, again in a circular way, in the format of a ―graphic diary‖ or sketchbook. It is the result of drawings and sketches taken from several sketchbooks that were made in parallel to this study.
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Trindade, António Oriol. "Um olhar sobre a perspectiva linear em Portugal nas pinturas de cavalete, tectos e abóbadas : 1470-1816." Doctoral thesis, 2008. http://sibul.reitoria.ul.pt/F/?func=item-global&doc_library=ULB01&type=03&doc_number=000539355.
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Tese de doutoramento em Belas Artes (Geometria descritiva), apresentada à Universidade de Lisboa através da Faculdade de Belas Artes, 2008Resumo alargado em português e em inglês disponível no documento
Books on the topic "Dürer, Albrecht, 1471-1528"
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Albrecht Dürer, 1471-1528. Cologne: Könemann, 1999.
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Dürer, Albrecht. Albrecht Dürer, 1471-1528. Milano: Mazzotta, 2002.
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artist, Dürer Albrecht 1471-1528, ed. Albrecht Durer: 1471-1528. [Potsdam, Germany]: H.f. ullmann, 2013.
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Stephen, Telfer, ed. Albrecht Dürer. Munich: Prestel, 2004.
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Dürer, Albrecht. The complete paintings of Dürer. Middlesex, England: Penguin, 1986.
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Albrecht Durer: A biography. Princeton, N.J: Princeton University Press, 1992.
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Reframing Albrecht Dürer: The appropriation of art, 1528-1700. Burlington: Ashgate, 2013.
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1951-, Smith Jeffrey Chipps, ed. The life and art of Albrecht Dürer. Princeton, NJ: Princeton University Press, 2005.
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Albrecht Dürer: A documentary biography. New Haven: Yale University Press, 2017.
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1471-1528, Dürer Albrecht, and National Gallery (Great Britain), eds. Dürer and the Virgin in the Garden. London: National Gallery Company, 2004.
Find full textBook chapters on the topic "Dürer, Albrecht, 1471-1528"
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Eicheldinger, Martina. "Dürer, Albrecht (1471–1528)." In Goethe Handbuch, 217–18. Stuttgart: J.B. Metzler, 1998. http://dx.doi.org/10.1007/978-3-476-03655-1_71.
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Thimann, Michael. "Dürer, Albrecht (1471–1528)." In Goethe Handbuch, 473–76. Stuttgart: J.B. Metzler, 2011. http://dx.doi.org/10.1007/978-3-476-00206-8_40.
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Barclay, Katie, and François Soyer. "Albrecht Dürer (1471–1528), Head of a Weeping Cherub." In Emotions in Europe 1517–1914, 291–92. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003175384-52.
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"Dürer, Albrecht (1471–1528)." In Encyclopedia of the Scientific Revolution, 358–79. Routledge, 2003. http://dx.doi.org/10.4324/9780203801864-44.
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"Ehrlich gehalten nah und feren": Five Centuries of Dürer Reception Albrecht Dürer (1471–1528) in German History." In Albrecht Durer, 9–28. Routledge, 2003. http://dx.doi.org/10.4324/9780203800591-7.
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Scolnicov, Hanna. "The Man of Sorrows: Edgar’s Disguise and Dürer’s Self-portraits." In Face-to-Face in Shakespearean Drama, 193–209. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474435680.003.0009.
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In King Lear, Edgar transforms himself from a young aristocrat into the mad beggar, Tom o’Bedlam. Naked except for the blanket that covers his loins, he assumes the image of the Man of Sorrows. He tells Lear that, in his former life, he was a dandy dedicated to cultivating his own looks, spending his time in illicit and multiple sexual relations, in drink and dicing. This is a homiletic picture of himself as a typical courtier, guilty of the deadly sin of vanity. The icon of the Man of Sorrows is familiar from countless paintings, and Shakespeare uses the traditional visual image, lifting it out of its religious context and giving it a Humanist significance. Perhaps the most pertinent visual images are those in which Albrecht Dürer (1471-1528) represented himself as the Man of Sorrows. In his earlier self-portraits, he appears as a handsome young man, well-dressed and carefully coiffed, reminding us of Poor Tom’s account of his past as a frivolous courtier. In her comparative study of Shakespeare and Dürer, Hanna Scolnicov argues that recognizing the surprising images shared by the two helps uncover the conceptual world of the play.