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Hierinn sind begriffen vier Bücher von menschlicher Proportion

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Hierinn sind begriffen vier Bücher von menschlicher Proportion

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Signatures: A-M⁶ N⁴ O⁶ (-O6?) P-S⁶ T⁴ V-X⁶ Y⁶ (-Y6?) Z⁶.
"Elegia Bilibaldi Pirckeymheri in obitum Alberti Düreri": p. [261]-[262].
Library of Congress. Lessing J. Rosenwald collection, 657
Rosenwald Collection (1954 ed.) 466
LC copy from the library of Fritz Kreisler. In old binding. Blind-stamped calf over boards; clasps.
With: Dürer, Albrecht. Vnderweysung der Messung. [Nuremberg], 1525 -- Dürer, Albrecht. Etliche Vnderricht, zu Befestigung der Stett, Schloss, vnd Flecken. [Nuremberg], 1527. Bound together subsequent to publication. Shelved under Rosenwald 656a.
LC shelflist: Better: NC745.A2

Albrecht Dürer (1471–1528) was a son of a goldsmith born in Nuremberg in 1471, and as a child, he worked in his father's workshop. At the age of 15, Dürer became an apprentice of Michael Wolgemut, the leading woodcut artist in Nuremberg. Dürer was heavily influenced by the Italian renaissance. During his teachings, he discussed the theory of perspectives and object measurements, on which he later went on to write two books. Returning home after his Italian travels, he married Agnes Frey, a patrician's daughter from Nuremberg. The couple remained childless. She worked closely with her husband, sold his works on the market, and ran the workshop in his absence. Dürer probably received more income from the sale of engravings and woodcuts than from painting. His last book, printed shortly after Dürer's death, was the first work to discuss the problems of comparative and differential anthropometry. It is dedicated to the proportions of the human body to enable artists to draw human features as close as possible to nature. The book includes around four parts and 150 illustrations created on flat woodcut profiles. Dürer appeared to be familiar with the manuscript written by Leon Battista Alberti, who also explored the body's proportions. Book I, focused on human body proportions. Book II explains the use of a measuring stick with length about 1/6 of the body, to help human figure to be drawn realistically. Book III demonstrates how the body proportions can variate, and Book IV explains movements. German language of that time was missing terminology related to the geometric and anatomical figures, so Dürer had to invent a lot of new terms. Dürer's work was reprinted without any changes for a long time.

The term "Northern Renaissance" refers to the art development of c.1430-1580 in the Netherlands Low Countries and Germany. The Low Countries, particularly Flanders with cities Antwerp, Ghent, and Bruges, were, along with Florence, the most economically advanced region in Europe. As in Florence, urban culture peaked here. The common understanding of the Renaissance places the birth of the Renaissance in Florence, Italy. Rennaisance's ideas migrated to Germany from Italy because of the travels of Albrecht Dϋrer. Northern artists such as Jan van Eyck remained attached to Medieval traditions. In their paintings, Low Countries painters attempted to reproduce space, color, volume, and light as naturalistically as possible. They achieved the perfection of oil paint in the almost impossible representation of things and objects. Rather than draw upon Classical Greek and Roman aesthetics like their Italian counterparts, Northern European Renaissance artists retained a Gothic sensibility of woodblock printing and illuminated manuscripts which clearly distinguished Northern Rennaisance art from Italian. Unlike Italian artists, northern painters were not interested in rediscovering the spirit of ancient Greece. Instead, they sought to exploit the full potential of oil paint, and capture nature exactly as they found it. Unlike their Italian counterparts, who embraced a mathematically calculated linear perspective and constructed a picture from within, Dutch artists used an empirical perspective with precise observation and knowledge of the consistency of light and things. They painted as they saw and came very close to the effect of central perspective. Long before Leonardo, they invented aerial and color perspectives. More, as with real-world human vision, their far-away shapes lose contours, and the intensity of the colors fades to a bluish hue. Robert Campin (c.1378-1444), was noted for works like the Seilern Triptych (1410) and the Merode Altarpiece (1425); Jan van Eyck (1390-1441) was noted for the Ghent Altarpiece (1432) and The Arnolfini Marriage (1434); Jan Eyck's pupil Petrus Christus (c.1410-75), best known for his Portrait of a Young Girl (1470, Gemaldegalerie, Berlin); Roger Van der Weyden (1400-64) noted for his extraordinary realism as in his masterpiece Descent From the Cross (Deposition) (1435), for the Church of Notre Dame du Dehors (now in the Museo del Prado, Madrid); Dieric Bouts (1420-75) for his devotional pictures; Hugo Van Der Goes (1440-82) famous for The Portinari Altarpiece (1475) which influenced the Early Renaissance in Florence; Hieronymus Bosch (1450-1516) noted for The Garden of Earthly Delights (1510-15) and other moralizing works; Joachim Patenier (1485-1524) the pioneer landscape painter; and Pieter Bruegel the Elder (c.1525-1569) known for landscape narratives such as The Tower of Babel (1563).

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01/01/1528
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germany
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Source

Library of Congress
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Public Domain

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