Word: nuremberg
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Dates: during 1970-1979
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JUST 500 years ago, Albrecht Dürer was born in Nuremberg. The anniversary has been the signal for a flurry of commemorative exhibitions across the world. In the U.S., the most impressive is a magnificent survey of Dürer's graphic work (36 drawings and 207 etchings, engravings and woodcuts) at the National Gallery in Washington...
Protean Richness. The tributes are, of course, deserved. Dürer was the greatest artist in German history, and his birth now seems the only internationally memorable event (apart from the war-crimes tribunal of 1945) that took place in Nuremberg. By adapting the new forms of the Italian quattrocento and connecting them to the already robust tradition of the German print, he almost singlehandedly provoked the Northern Renaissance. No single aspect of Dürer's work can do justice to the protean richness of his imagination and temperament. For all-round inquisitiveness, he was surpassed only by his older contemporary...
...engravings and woodcuts for "five snail shells, four silver and five copper medals, two dried fishes, a white coral, four reed arrows and a red coral," as well as a large shark's fin that one of his friends, a vicar, had to lug all the way home to Nuremberg. Even the disease that ruined his health, malaria, was a souvenir: a mosquito bit him when he ventured into the salt marshes of Zeeland to draw yet another marvel?a dead whale...
...started traveling in 1490 when he was not quite 19. He had spent four years apprenticed to a master painter and engraver in Nuremberg, Michael Wolgemut; he now set off to Colmar, to work under Martin Schongauer. The trip turned into a couple of Wanderjahrce through Germany, and he did not reach Colmar until 1492. When he got there, Schongauer was dead. His restless wanderings across Europe included two trips to Venice, and were capped by a yearlong sojourn in The Netherlands, where he was a celebrity among celebrities, moving in a nimbus of fame through a circle that included...
...moving from Nuremberg to Venice, Dürer reversed a whole direction of cultural priorities. The centers to which German artists had previously looked, from their provincial isolation, were Bruges and Ghent in Flanders and the northern Gothic style shaped there by artists like the Van Eycks and Hugo van der Goes. What fascinated Dürer was Italian humanism and all that flowed from the discovery of classical antiquity. He felt that his destiny was to introduce these new ideas to the North. He had informed himself from scraps, mainly engravings after Mantegna and his imitators that he had seen...