The superposition of lines and the arrangement of thickness outline the iconic characteristics of objects. These illustrations seem simple, but each one has its own unique charm.
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Whose is this painting? Diu Lei's.
First of all, briefly introduce life.
Albrecht Dürer (147 1- 1528) is a German painter, printmaker and woodcut designer. As a teenager, he studied with his father. He showed a special talent for painting. At the age of 65,438+03, he was able to draw his portrait realistically. The portrait he painted for his father at the age of 65,438+09 fully shows his mature sketching skills, which can echo Leonardo da Vinci from a distance. Later, I worked as a painter MichaaeelWolgemut for three years. Vogmut's studio also produces woodcut illustrations for AntonKoberger, Diu Lei's godfather, printer and publisher. At that time, this largest factory had a great influence on Diu Lei. His first contact with bronze art was in his childhood, and this lasting impression played a decisive role in his later printmaking. After the division, the young painter walked out of the studio, traveled along the Rhine River to major industrial cities in Germany, visited Frankfurt, and visited Cologne and Basel. The four-year study tour has played a decisive role in the formation of the painter's world outlook and artistic development. Diu Lei, 23, is already an influential artist. This year, he married Agresa Flaughey, the daughter of a musician in his hometown. From then on, Diu Lei began to work independently as a jeweler and painter.
During the period of 1485, German education was on the eve of reform under the influence of humanism, and Diu Lei entered a public primary school in Nuremberg. According to the tradition of his family, the father apprenticed his son in his own workshop and wanted to train him as a jeweler. Diu Lei was trained in painting for the first time in the workshop and soon became proficient, which became the basis of his artistic activities. In order to learn the decorative arts necessary for jewelry technology, Diu Lei further copied the artist's figure painting and the sculpture of Martin Sanger, which created conditions for him to become an artist. At the age of thirteen, Diu Lei carved his first self-portrait with a silver needle and wrote: "1484 When I was a child, I painted myself in the mirror." His second year's pen-and-ink painting "The Virgin Mary and the Angel on the Throne" is one of the second earliest works, which has been preserved to this day.
In the process of learning painting, Diu Lei was very interested in the character structure and painting rules, so he asked his father to allow him to become a painter. His father obeyed his son's wishes and sent him to the studio of the painter Michael Oarga Mert near Nuremberg. The contract stipulates that he will be an apprentice for three years. Diu Lei copied the teacher's works, gradually learned a variety of painting skills, and began to study nature, human body and plants, and began to try to create. At the same time, he also carefully studied the deployment and application of color. Therefore, when his apprenticeship expires, he will be able to create according to the artistic rules. Diu Lei, 23, officially set up a studio near her home and began to paint portraits.
Later, Diu Lei completed the first great masterpiece-the woodcut group painting "Revelation". This Revelation originated from the mysterious fantasy of old Christianity in Nero Dynasty of Roman Empire. He produced a set of 15 immortal works, which showed the helpless horror and disappointment of mankind at the end of the fifteenth century due to the arrival of the end of the world. At that time, Germany was in the struggle between the bourgeoisie and craftsmen, between farmers and feudal lords, between hunger and exploitation, and the passionate feelings of the people eventually developed into numerous religious, political and revolutionary mass movements. Diu Lei wants to endow the visions in Revelation with realistic images and give them suggestive power. Several of the paintings openly criticized the ruling forces, and he gave his opinion to everyone's conscience.
Since the publication of Revelation, Diu Lei has been among the glorious ranks of contemporary great artists. Frederick invited him to draw a second altar painting. 1498 Diu Lei is full of energy and confidence in popularity. Painted a self-portrait in luxurious clothes. (Existing Madrid Prado Exhibition Hall1519 In March 2004, Diu Lei painted a portrait of her mother two months before her death. In this charcoal painting, he created the most vivid and touching work in his life, which is the only portrait of Diu Lei's mother that has survived to this day. When his mother died in May of 17, he wrote a few words on the painting: "This is Albrecht Dürer's mother, who died at 2 pm on Tuesday before 15 14 prayer week, at the age of 63." Explain his respect and love for his mother all his life.
From 1490 to 1507, he traveled to Basel, Strasbourg and Venice, and visited Giovanni Bei Lini, whom he admired for a long time. He not only tried to strengthen his artistic knowledge, but also began to study mathematics, geometry, Latin, classical literature and so on. His contact with scholars is more frequent and closer than that with artists. 15 12 became the command painter of EmperorMaximilan. Later, he went to Antwerp, Brussels, Marion, Keren, Middlesbrough, Bruges and Ghent, and was well received. 152 1 7 returned to his hometown, and his health deteriorated, but he continued to write until his death.
Diu Lei is a representative figure of the Northern Renaissance. At that time, Germany was in the darkest period in history. The confusion of ideas and beliefs, famine and plague (Black Death) mercilessly claimed a lot of lives and social contradictions intensified. This makes German culture and art weak, which is nothing more than a serious downturn. At the same time, European countries, led by Italy, have stepped out of the Middle Ages and entered a period of political, economic and cultural openness and prosperity, and the glory of humanism has illuminated the European continent. Therefore, as a German artist, Diu Lei can only pursue and spread the advanced ideas of "modern" Europe in a backward country that represents the past.
This talented boy is going to introduce modern culture to Germany by himself. However, his curious and questioning eyes and his Christian fingers show that, unlike the Italian Renaissance's joyful view of the world between people and the Dutch Renaissance's stubborn concern for the outside world, the German Renaissance will stare at people with a little bitterness. This will make him a maverick avant-garde full of contradictions.
As a Renaissance man, Diu Lei believed that artists must observe nature deeply and try their best to discover the secrets of the universe in order to reveal and express beauty. But at the same time, he insisted on his semi-medieval belief that artists and their art should be the tools of God. When Michelangelo used the statue of David (150 1-kloc-0/504) to show the perfection and rebirth of human beings, Diu Lei created the etching print "San eustace" (1501) with the same superb technique, showing the scene where martyrs met miracles. However, his masterpiece at that time was the woodcut group painting of Revelation, which was created earlier, and the content and expression style were more obvious with the characteristics of Gothic educational portrait.
Like leonardo da vinci, Diu Lei has a scientific mind, so he studied mathematics and perspective deeply and wrote many notes and works. In perspective and human anatomy, he created many paintings reflecting social reality. He also studied architecture and invented an architectural system. Diu Lei is also an art theorist, who has written Introduction to Painting and Principles of Human Anatomy. He freed German art from the influence and bondage of Gothic art, and moved towards the realistic art road under the guidance of humanism. He pushed the naive printmaking art to a perfect new stage. He supported the religious reform at that time and sympathized with the peasant war. He took the initiative to draw prints and illustrations for the pamphlet of Martin Luther, the leader of the Religious Reform, and ended his creative path with the design of the peasant war monument.
The accuracy of his sketches of animals and plants can be completely comparable to that left by Leonardo da Vinci, but at the same time he is convinced of the existence of various monsters recorded in the Revelation. Therefore, Diu Lei is not only a painter, but also a mathematician, mechanic and architect. He once founded the theory of fortifications.
He traveled nonstop all his life, and his footprint and vision were almost unmatched at that time, but he always retained the ignorance and narrowness of some farmers. He believes that reason and knowledge will make people become noble beings, but he has a deep understanding of human imperfections.
He came from a medieval craftsman family and lived in a country with the lowest status as an artist, but he became the most independent and proud artist in Europe at that time. As the "father of self-portrait", he was the first painter in Europe who was attracted by his appearance and identity, thus becoming the pioneer of Rembrandt. He has more or less realized that art will make him immortal, but he has been pursued by the idea of approaching death all his life and can't get rid of the fear that his body will disappear. As far as artistic style is concerned, although he is the pursuer and disseminator of Italian Renaissance art, the German tradition in which he lived makes his art retain a little legacy of medieval Gothic, and at the same time, it is surprising to show some baroque characteristics at first.
Diu Lei's works include woodcut prints and other prints, oil paintings, sketches and sketches. Among his works, printmaking is the most influential. He is one of the best woodcut and copperplate artists. His main works include Revelation, Cataclysm of Christ, Little Suffering, Men's Bathroom, Sea Monster, Prodigal Son, Great Destiny, Adam and Eve, Knight, Death and Demon, etc. His watercolor landscape painting is one of his greatest achievements, and the atmosphere and emotion of these works are extremely vivid.
/kloc-at the end of 0/523, Diu Lei began to write an autobiography, which not only reviewed his life, but also described his parents, his seventeen brothers and sisters and his own life experiences. Only one of his younger brothers was still alive at that time.
1525, Diu Lei's important book "Course of Surveying Art" was published. Therefore, he became one of the first-rate art theorists in the Renaissance. 1526 is the year when Diu Lei created outstanding portraits, such as Ishmas Van Rotterdam, which became his greatest masterpiece.
1527, the second scientific book "the principle of building a city" was published. From 65438 to 0928, the principle of human anatomy was published, which is the crystallization of his 27-year research on human anatomy. Unfortunately, he didn't see the great influence of this work. 57-year-old Diu Lei returned from the Netherlands, weak, repeatedly plagued by illness. This once brilliant cultural superstar suddenly fell on April 6, 1528.
What does Byzantine art include? Byzantine art Byzantine art is an artistic style and skill developed in the Eastern Roman Empire from the 5th century to the middle of15th century. As a link between Greek and Roman classical art and later Western European art, Byzantine art combines the naturalism of classical art and the abstract decorative features of oriental art. There is no clear dividing line between early Christian art and Byzantine art. The early initial period, from Constantinople becoming the capital in 330 to about 500 years ago, is called pre-Byzantine period. The first golden age of Byzantine art was during the reign of Justinian I (527-65). During the 8th and 9th centuries, an anti-idol debate opposed idolatry, and many paintings and sculptures were destroyed. With the end of anti-idolatry in 843, the depiction of sacred figures was encouraged again. The second golden age of Byzantine art lasted from the 9th century to12nd century, introducing realism into court art and mysticism into religious art ... The last glory of Byzantine art took place during the reign of Luo Dynasty in Vaglio from 13 to15th century. It is called the Byzantine Renaissance. In the later period, religious art expressed more emotion and naturalism. Style and Characteristics From the 4th century to the 15th century, the Byzantine Empire (the Eastern Roman Empire) and the Christian Church centered on Constantinople (the ancient Greek city of Byzantium) were the official art. Its ideological content is to worship the emperor, promote Christian theology, and serve to consolidate the rule of the aristocratic class. Its style is characterized by the combination of late Roman art forms and oriental art forms centered on Asia Minor, Syria and Egypt, which has a strong oriental color. For example, the central dome structure of St. Sofia's church and its gorgeous interior decoration reflect the authority of spiritual rule of the unity of politics and religion. Great achievements have been made in the establishment and utilization of Christian idol worship system, the transformation of old forms into Christian propaganda services, church buildings, icon paintings, mosaics, murals, miniature models and the style creation of arts and crafts. Because of the bondage of the church. The late style of Byzantine art tends to be formulaic and conceptual. It had a great influence on the art of medieval European countries, especially the Orthodox countries. 1453 After the Islamic Turks captured Constantinople, the history of Byzantine art was over, but its form was still used by the Orthodox Church. The mature Byzantine style evolved from the stylization and standardization tendency of classical forms in the late period of early Christian art; Based on the dynamics of lines and plane colors, not on form. The personality characteristics of the characters are suppressed and replaced by standardized face shapes. The body is flat, and the folds are processed into vortex lines. The whole picture gives the impression that the soul is outside the body; The three-dimensional representation of characters has been replaced by spiritual strength, which is manifested in the strength of lines and the brightness of colors. Its characters adopt strict frontal posture and Byzantine's face, huge eyes and sharp eyes, with a typical golden background. This background makes the image seem to be suspended somewhere in the space between the wall and the audience on the screen of the isolated person. The Byzantine Empire rarely made sculptures. The most common small ivory reliefs are used for book covers and sacred boxes. In the upper class of Constantinople, other small works of art, embroidery, gold ware and glass products are also very popular. Although the manuscript decorative painting is not as impressive as the giant painting and mosaic painting, it plays an important role in spreading Byzantine style and icon painting in Europe. Editing this paragraph shows that Byzantine architecture inherited Roman architectural skills. In the early days, there were two kinds of churches-the rectangular basilica church and the dome church with the Greek cross. Byzantium was one of the earliest areas where triangular domes were used to place domes in square areas. Hagia Sophia, built in the first golden age, is an outstanding example of Byzantine architecture. By the second golden age, almost all churches were Greek crosses. The earliest Byzantine architecture was based on the graphic design of the Italian rectangular church, with huge domes and vaults. However, there are incongruities between the dome and the vertical wall below it in terms of structure and visual effect. Therefore, in the 10 century, buildings in most areas were changed to radial design, including four identical arched arm structures, and their intersections were covered with domes, and the arm structures extended outward from this center. This centralized and radial design is very consistent with the world view of the hierarchical system of the Eastern Church. This world view can be clearly seen in the decorative design of church icons, murals or mosaics. They cover the dome, walls and vaults of the church, so that the expression language of architecture and painting is completely integrated. This icon design also reflects a kind of liturgy: the story scenes of the life of Christ and the Virgin Mary are not arranged on the wall in order to meet the needs of preaching and appeal like western churches, but are selected according to the meaning of the festival and placed according to its theological significance. The production style of these mosaics and murals reflects that they only express images of gods and static symbols of gods. Byzantine art mosaic illustrations Byzantine craftsmen have developed mosaic art to a new height. Colored glass tubes and gold backgrounds create shiny lighting and color effects. Mosaics decorate the walls and ceilings of churches and beautify God and kings. The best mosaic in the first golden age was the Sanvitale Church in Lavaine. In the second golden age, an old-fashioned diagram (Christian theme arrangement) was formed in church decoration. The central dome is the Almighty God (Jesus is the Lord of all things), the evangelist is in the corner, and the Virgin is behind the dome. When the late Byzantine murals replaced the expensive mosaics, this elaborate picture was still preserved. Illustration manuscripts often imitate mosaics, because many illustrations are set in gold or blue. Small wooden board paintings called icons often put virgins in formal scenes with strong decoration. Sculptures and decorations The Byzantine Empire rarely made commemorative sculptures. In the early days, there were carved portraits, but mainly carved ivory boards, which were used for altar activities and packaging jewelry boxes. Silver, jewelry, silk and linen fabrics reflect the grandeur and splendor of the Byzantine court. Byzantine craftsmen took the glaze technology of cloisonne to the extreme.