Word: schongauer
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...flamboyant," late medieval style, is illustrated in the engravings of a Crozier and Madonna and Child, by the master from Colmar, Schongauer. All the capacity of engraving for detail and subtlety is put to use. In these works the artist characteristically stresses linear qualities and tactile values, concentrating on bringing out textures while limiting the plastically felt surfaces. Along with the engravings of Schongauer are woodcuts, some of which are from the Wolgemut school. The art of letter printing which was developed in Germany during the middle of the 15th century had been used for some time in the making...
...from this background, represented by Wolgemut in the woodcut and Schongauer in engraving, that the great transition figure of Albrecht Durer emerged. But the beauty of this exhibit is the opportunity to see the Germanic elements in his art, as well as his foreign innovations. It is clearly brought out, that Durer was both the culmination of the medieval tradition as well as the herald of a new interest in classical forms. The ideals of plasticity proportionality, perspective and clarity that were absorbed from the south combined in Durer with a linear style and interest in detail...
...from this background, represented by Wolgemut in the woodcut and Schongauer in engraving that the great transition figure of Albrecht Durer emerged. He is usually discussed as the father of the Northern Renaissance. But the beauty of this exhibit is the opportunity to see the Germanic elements in his art, as well as his foreign innovations. It is some of the finer examples of Durer's Renaissance. But the beauty of this style, is illustrated in the engravings are the Coat of Arms of the German...
...skillful grouping and juxtaposition of pictures in this exhibit helps reveal various aspects of the complex character of Durer and his times. Perhaps the representation of Schongauer and Wolgemut are not as rewarding as they might be, but on the whole the Museum has provided a collection of great interest to students of the later Middle Ages and the Northern Renaissance, as well as those just interested in some of the finer examples of Durer's craft...
...Gruber had any one thing to teach, it was the value of a return to the 15th and 16th Century German masters he himself most admired: Matthias Grünewald, Martin Schongauer and Albrecht Dürer. Their art had been as strictly delineated, and often as sad and bitter cold as his, though far more ambitious. Had he lived, Gruber might conceivably have come to paint a Crucifixion as great as Grünewald's. He never got beyond showing how pathetic a nude model and how forbidding a winter landscape can look...