Albrecht Dürer and the Venetian Renaissance
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Bibliographic Information
Albrecht Dürer and the Venetian Renaissance
Cambridge University Press, 2005
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Note
Includes bibliographical references (p. 231-258)
Description and Table of Contents
Description
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.
Table of Contents
- 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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