Albrecht Dürer and the Venetian Renaissance
著者
書誌事項
Albrecht Dürer and the Venetian Renaissance
Cambridge University Press, 2005
大学図書館所蔵 全12件
  青森
  岩手
  宮城
  秋田
  山形
  福島
  茨城
  栃木
  群馬
  埼玉
  千葉
  東京
  神奈川
  新潟
  富山
  石川
  福井
  山梨
  長野
  岐阜
  静岡
  愛知
  三重
  滋賀
  京都
  大阪
  兵庫
  奈良
  和歌山
  鳥取
  島根
  岡山
  広島
  山口
  徳島
  香川
  愛媛
  高知
  福岡
  佐賀
  長崎
  熊本
  大分
  宮崎
  鹿児島
  沖縄
  韓国
  中国
  タイ
  イギリス
  ドイツ
  スイス
  フランス
  ベルギー
  オランダ
  スウェーデン
  ノルウェー
  アメリカ
注記
Includes bibliographical references (p. 231-258)
内容説明・目次
内容説明
Albrecht Durer and the Venetian Renaissance examines twenty-five paintings by the German artist in an effort to reevaluate his relationship to contemporary Italian art and his status as a painter. Providing a technical analysis of these works, Katherine Crawford Luber explains how Durer appropriated Venetian techniques and suggests that the artist was engaged in the exploration of an atmospheric, coloristic perspective. Luber also demonstrates how the Venetian alternative to 'scientific' perspective was integrated not only in Durer's late paintings, but also in his later graphic oeuvre, which necessitates a reassessment of the critical partition of his painted and graphic work. Emphasizing Durer's careful working methods, Luber argues that technique is an interpretable and critically important aspect of art works that should be integrated into mainstream art historical studies.
目次
- 1. Introduction
- 2. Durer's mythic and real presence in Italy: an argument against two separate journeys
- 3. The Feast of the Rose Garlands I: Durer's appropriation of Venetian painterly techniques
- 4. The Feast of the Rose Garlands II: Durer, Giovanni Bellini, and eristic imitation in the Renaissance
- 5. The fulfillment of the old by the new: concordance of painterly technique, visual content, and hieratic tradition in the Virgin with the Pear
- 6. Durer's Maximilian portraits: an investi
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