By R. Kopfenberg
Таинственный и гениальныйнемецкий творец, чьи интересыне ограничивались только живописью или гравюрой. Альбрехт Дюрер был настоящим пророком германского Возрождения. Его кисть создавала портреты императоров и сочувствовала нищим крестьянам. Он создавал пушки и учил ландскнехтов, как правильно разрушать замки и крепости. И в то же время он вырезал на гравировальных досках изумительную серию офортов, проклинавших ужасы войны и всех гибельных для человечества напастей. Альбом с репродукциями великого Дюрера.
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Additional resources for Albrecht Duerer
Since the eighteenth century, English figure painters had continued to employ glazes to obtain sonorous effects of colour, whereas orthodox French NeoClassicists, in reaction against Rococo techniques, appear to have regarded extensive glazing as a sign of technical incompetence. It may also be the result of English influence in 1825 that in the four years following his return to France, three of Delacroix's major history paintings were to be inspired by English literature: The Murder of the Bishop Liege, from Walter Scott's Quentin Durward (PI.
Plate 21 « 36 - Interior of a Dominican Convknt in Madrid: Melmoth the Wanderer)), 1831, Salon 1834. An Incident from approved of as a source by the most orthodox Neo-Classicist. Thus Delacroix, far from renouncing the Neo-Classical methods in which he had been instructed, transforms them by the introduction of Baroque elements to create a truly Romantic masterpiece, which he would probably have thought of as Homeric, and therefore more truly classthan the works of David or Ingres. The classical elements in the Christ on the Sea of Galilee (arrangement parallel to the picture plane, at least one gesture borrowed from the Antique) are less obvious precisely because they are more completely fused with the Baroque characteristics.
They in his opinion were the pioneers in the creative arts, in spite of their excesses; they dared too much, but in so doing made discoveries which became an eternal source of inspiration and were often refined into perfection by the ' ' ' classics. The influence of the theatre on Delacroix's painting has yet to be adequately studied. From boyhood, he was an ardent theatregoer, and at the age of twenty-one was translating passages from Richard III. His powerful dramatic sense in painting was no doubt much stimulated by contemporary theatre.
Albrecht Duerer by R. Kopfenberg