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Download Albrecht Durer: A Guide to Research (Artist Resource by Jane Campbell Hutchison PDF

By Jane Campbell Hutchison

Hutchison's booklet is a whole advisor on Durer and the examine on his paintings, his old import and his aesthetic legacy.

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Additional resources for Albrecht Durer: A Guide to Research (Artist Resource Manuals)

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7 (1972) [Paper presented at the 1972 Nuremberg symposium, “Problemen der Kunst Dürers zwischen 1490–1500]. ). He traced the artist’s route on his bachelor’s journey via Colmar, Freiburg, Breisach, to the Bodensee, and from there via Konstanz to Basel. He rejected the Munich Young Man (1500) and the Paris Young Woman of the Fürleger Family. 29. Anzelewsky, Fedja, and Hans Mielke. Albrecht Dürer. Kritischer Katalog der Zeichnungen, Berlin: Staatliche Museen Preussischer Kulturbesitz, 1984. Scholarly catalogue of the 122 drawings and watercolors by the artist that are in the Berlin print room.

Ballarin’s paper deals with the style and chronology of Titian’s work in Venice before the decoration of the new Fondaco dei Tedeschi—that is, between 1506, when Dürer was in residence in the city, until 1511. He examines the succesive influences of Giovanni Bellini, Dürer and Giorgione, and also provides a chronology for Giorgione’s work between 1506–1508. 48. Ballschmiter, Thea, Renate Klingmann, and Barbara Haase. ” Wissenschaftliche Zeitschrift der Ernst-Moritz-Arndt-Universität Greifswald 20, Gesellschafts- und Sprachwissenschaftliche Reihe (1971):201–208.

Acton, David. ” Bulletin, Museums of Art and Archaeology, University of Michigan 4 (1981):40–53. Discusses Goltzius’s motivation in engraving the Circumcision in the style of Dürer and the Adoration of the Magi in the style of Lucas van Leyden—two of his so-called Meisterstiche from the series done in 1594, suggesting that together the two prints illustrate “the sensibilities of self-appraisal and artistic proclamation” that were the inspiration for the series. Examines the Dutch artist’s response to Dürer and Lucas in the context of his knowledge of the Italian masters, arguing that in imitating Dürer and Lucas, Goltzius was transferring behavior that he had observed as part of the Mannerist movement during his travels in Italy to the north.

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