Difference between revisions of "Albert Dürer"
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Albert Dürer <ref name="term_72453" /> | |||
<p> The great early German painter and engraver, born at Nürnberg, son of a goldsmith, a good man, who brought him up to his own profession, but he preferred painting, for which he early exhibited a special aptitude, and his father bound him apprentice for three years to the chief artist in the place, at the expiry of which he travelled in [[Germany]] and other parts; in 1506 he visited Venice, where he met Bellini, and painted several pictures; proceeded thence to Bologna, and was introduced to Raphael; his fame spread widely, and on his return he was appointed court-painter by the [[Emperor]] Maximilian, an office he held under [[Charles]] V.; he was of the Reformed faith, and a friend of Melanchthon as well as an admirer of Luther, on whose incarceration in [[Wartburg]] he uttered a long lament; he was a prince of painters, his drawing and colouring perfect, and the inventor of etching, in which he was matchless; he carved in wood, ivory, stone, and metal; was an author as well as an artist, and wrote, among other works, an epoch-making treatise on proportion in the human figure; "it could not be better done" was his quiet, confident reply as a sure workman to a carper on one occasion (1471-1528). </p> | Albert Dürer <ref name="term_72453" /> | ||
==References == | <p> The great early German painter and engraver, born at Nürnberg, son of a goldsmith, a good man, who brought him up to his own profession, but he preferred painting, for which he early exhibited a special aptitude, and his father bound him apprentice for three years to the chief artist in the place, at the expiry of which he travelled in [[Germany]] and other parts; in 1506 he visited Venice, where he met Bellini, and painted several pictures; proceeded thence to Bologna, and was introduced to Raphael; his fame spread widely, and on his return he was appointed court-painter by the [[Emperor]] Maximilian, an office he held under [[Charles]] V.; he was of the [[Reformed]] faith, and a friend of Melanchthon as well as an admirer of Luther, on whose incarceration in [[Wartburg]] he uttered a long lament; he was a prince of painters, his drawing and colouring perfect, and the inventor of etching, in which he was matchless; he carved in wood, ivory, stone, and metal; was an author as well as an artist, and wrote, among other works, an epoch-making treatise on proportion in the human figure; "it could not be better done" was his quiet, confident reply as a sure workman to a carper on one occasion (1471-1528). </p> | ||
== References == | |||
<references> | <references> | ||
<ref name="term_72453"> [https://bibleportal.com/encyclopedia/the-nuttall-encyclopedia/dürer,+albert Albert Dürer from The Nuttall Encyclopedia]</ref> | <ref name="term_72453"> [https://bibleportal.com/encyclopedia/the-nuttall-encyclopedia/dürer,+albert Albert Dürer from The Nuttall Encyclopedia]</ref> | ||
</references> | </references> | ||
Latest revision as of 17:16, 15 October 2021
Albert Dürer [1]
The great early German painter and engraver, born at Nürnberg, son of a goldsmith, a good man, who brought him up to his own profession, but he preferred painting, for which he early exhibited a special aptitude, and his father bound him apprentice for three years to the chief artist in the place, at the expiry of which he travelled in Germany and other parts; in 1506 he visited Venice, where he met Bellini, and painted several pictures; proceeded thence to Bologna, and was introduced to Raphael; his fame spread widely, and on his return he was appointed court-painter by the Emperor Maximilian, an office he held under Charles V.; he was of the Reformed faith, and a friend of Melanchthon as well as an admirer of Luther, on whose incarceration in Wartburg he uttered a long lament; he was a prince of painters, his drawing and colouring perfect, and the inventor of etching, in which he was matchless; he carved in wood, ivory, stone, and metal; was an author as well as an artist, and wrote, among other works, an epoch-making treatise on proportion in the human figure; "it could not be better done" was his quiet, confident reply as a sure workman to a carper on one occasion (1471-1528).
