Word: wolgemut
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...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...
...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 and copied in Wolgemut's Nuremberg studio. Dürer was already a virtuoso draftsman; but there was nobody alive in Germany against whom he could test himself...
...skillful grouping and juxtaposition of pictures in this exhibit helps reveal many other 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 to those just interested in some of the finer examples of Durer's craft...
...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 of block prints...
...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...