Albrecht Dürer Libros

Catálogo de la exposición organizada por la Biblioteca Nacional en colaboración con la Fundación CajaCanarias, entre febrero y mayo de 2013. La muestra reúne 122 obras pertenecientes todas ellas a la colección de la BNE. Junto a una selección de los mejores grabados de Durero, ordenados cronológicamente, se exponen importantes obras de otros artistas contemporáneos del pintor alemán, como Holbein, Cranach o Baldung Grien. A la importancia del grabado en Alemania durante el siglo XVI contribuyó que los mejores pintores de la época cultivaran su técnica y que fuera considerado por el emperador Maximiliano, dotado de buen criterio artístico, como un medio idóneo para propagar sus hazañas.

En 1520, Alberto Durero emprende un viaje con su mujer Agnes, con el fin de recuperar la pensión que ha dejado de recibir tras la muerte del abuelo del rey Carlos I de España. El 12 de julio parte de Nuremberg, visita numerosos lugares y conoce a muchos de los protagonistas de la época en los ámbitos artístico, político y religioso, como Quentin Metsys y Joaquín Patinir; admira las pinturas de Jan van Eyck. Es testigo del comercio y la pujanza económica de ciudades como Amberes y trata con sus hombres de negocios. El diario nos acerca a la vida de Durero a lo largo del año que dura su viaje: sus detalladas anotaciones de costumbres, ciudades, su cuenta de gastos y ganancias, y sus impresiones sobre las peripecias que vive prefiguran lo que serán los metódicos e interesantes aportes de los viajeros del siglo XVIII

A comienzos del siglo XVI, las funciones del arquitecto y del ingeniero estaban interrelacionadas, y sus profesiones a menudo se denominaban con términos intercambiables. Alberto Durero, al igual que Leonardo y Miguel Ángel, exploró la relación entre la edificación de fortificaciones y la urbanística, así como las propiedades estéticas de la construcción abastionada. Esta visión del "arte de la guerra" lo llevó a publicar en octubre de 1527 su Tratado de arquitectura y urbanismo militar, su último escrito personal editado en vida, seis meses antes de su muerte. Esta obra es la primera impresa sobre la adaptación de perímetros defensivos a las exigencias de la guerra moderna, enfocándose en la construcción de nuevas fortalezas y la fortificación de núcleos urbanos preexistentes. Su publicación rompió con el secretismo de la ingeniería de la época, divulgando de manera clara los principios de la arquitectura militar. La presente edición crítica es la primera en cualquier idioma, traducida al castellano desde el alemán original y confrontada con bocetos y textos manuscritos previos. Incluye una introducción completa y un estudio filológico que contextualizan el texto en su marco histórico y cultural.

An introduction to the Renaissance genius of Albrecht Durer. It focuses on Durer's studies of the natural world to show how the artist imbued the most ordinary of living things with reverence and emotion. A master graphic artist, Albrecht Durer (1471-1528) was arguably the most important artist of the Northern Renaissance. Although he was extremely influential as a printer, his drawings and paintings reveal a profound scientific curiosity and sensitivity to the world around him. This collection of sketches and watercolours features 34 animal and plant studies, including the masterpieces "Hare" and "Large Piece of Turf". Victoria Salley presents an essay exploring Durer's interest in nature and reproductions which should allow readers to appreciate the intricate beauty of Durer's work as well as his keen powers of observation - traits which continue to inspire and instruct artists today.

Facsimile of Durer's Apocalypse of 1498, arguably the greatest set of prints in Western art.

In 1512, Maximilian I, ruler of the Holy Roman Empire, conceived the most grandiose of his many schemes involving a triumphal arch, the subject of the present volume, and a triumphal procession (see Burgkmair, The Triumph of Maximilian I). The arch, composed of 192 separate woodcuts, would, when put together, form an arch over ten feet high. Designed to immortalize the “last of the knights” and executed when woodcut was at a technical and esthetical peak, this series is one of the most important and amazing in the whole woodcut history.

Albrecht Dürer excelled in various media, but his woodcut designs showcase his creative genius at its peak. This collection features over 300 of his extant woodcuts, including renowned works like the series on the Life of the Virgin, The Apocalypse of John (17 cuts), The Great Passion, St. Jerome in his Study, and The Fall of Icarus, among others. It serves as the sole source for many of these pieces. While sacred themes dominate—depicting the Holy Family, Christ's life, and saints—Dürer also explored diverse motifs, including portraits, book illustrations, coats of arms, and mythological themes. The plates are arranged chronologically, allowing readers to trace the evolution of Dürer's artistry, revealing an individualistic style and unparalleled skill. An introduction by Campbell Dodgson and a 34-page guide by Dr. Willi Kurth address the authenticity of each work, referencing key Dürer scholars and providing historical context from his apprenticeship in Nuremberg to his later works (1520-1528). The woodcuts are reproduced in exceptional detail, making this collection essential for art historians and critics, while also offering aesthetic enjoyment to lay readers.

Albrecht Dürer embodied a new type of artist, one who represented a different attitude to art and enjoyed high social status of the kind already accorded to Italian artists of his time. With his revolutionary innovations in paining as well as printed artwork Dürer introduced the Renaissance to German art. Humanistic philosophy of his day proved as fruitful a source to him as his study of the art of antiquity or the works of his European artistic contemporaries, which he drew on for wholly novel purposes. The enduring enthusiasm for Albrecht Dürer highlights the nature of his genius and his unique role in giving German art the impetus to historic progress.

This beautiful volume, companion to the earlier, highly regarded Giotto to Dürer, is a guide to the sixteenth-century paintings of London’s National Gallery. It examines the finest works of such artists as Holbein, Raphael, Cranach, Titian, Gossaert, and Bronzino and provides fascinating insights into the individual masterpieces and their makers.“A readable overview of European painting in the sixteenth century, rich with perceptive commentary.”—Andrew Butterfield, Art News“This fluently written and beautifully produced book serves both as a period survey and as a reference for sixteenth-century European painting in the collections of the National Gallery.”—Jeffrey Fontana, Sixteenth Century Journal