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The Humanistic Relevance Of Albrecht Durer's Artwork To Today's World (Essay Sample)

Instructions:

The paper is to be based on the analysis of your artist' work and how it is relevant to some political or social issue of today. A biographical development of the artist may also be included, however, the majority of the paper must be on the artwork and
what humanistic statement it makes to today's world. USE appropriate vocabulary associated with the arts.

source..
Content:
Student’s Name Professor’s Name Institution Course Date The Humanistic Relevance of Albrecht Durer’s Artwork to Today’s World Introduction Albrecht is one of the most celebrated Renaissance painters of all time being considered the master of woodcut and printmaker. His engravings together with the woodcuts entail exquisite details about the elaborated images on various drawings on philosophical ideas and other drawings. The German painter was the designer of major woodcuts and the art theorist. Durer, who was born in Nuremberg Germany, was the first artist to train under his father who was then a goldsmith. He got married in 1496 but left the marriage in autumn for Italy that year. During his visit in Italy, he made a profound study since at the beginning of 1505-1507, where he studied Italian painting at the particular moment when it was undergoing sudden changes by the revolutionary ideas. In addition, Durer also studied the intellectual background of humanistic writings, especially the Mantegna's trial of recreating engravings and other paintings of the classical art canon, and the Italian Renaissance. Therefore, Durer’s artwork contributed greatly to the general spread of the humanism that is experienced in the north in the present world. A Painter Who Was Considered a Renaissance Humanist Durer achieved so much fame during his artistic lifetime, owing it to his skills in print culture. Being born from a successful goldsmith father, where his father was a second-generation immigrant from Hungary, Durer he was depicted highly and held in honor by the lords and the princes bother near and far. The contact Durer owned with the political experts bestowed him like an aura of prestige in the world of artistry. The strong connection that he had in his lifetime was that of a humanistic relation, and the Renaissance scholars who promoted the imitations of the rhetorical arts and the Greco-Roman poetry increased his study of the ancient culture, particularly concerning history, politics and philosophy. Presently, living in an era where it is accustomed to the status which is exalted by the successful artist, difficulties may be encountered while trying to appreciate the novelty of Durer and also trying to find his niche in among the intellectual elites from his time. However, it was basically from Durer that the Northern Europe and other parts of the world began experiencing a painter who self-consciousness together with the public stature had maintained by an artist instead of an artisan (Christensen, 119). Durer’s entire participation in the humanistic organizations was considered to be unusual since he was not a Latin scholar. His works especially concerning the comments made on his authorship of theoretical books written for other artists. Durer could not have become a humanist were it not for his intellectual informed learning and passion that made his acquaintances equate his accomplishment with the academic humanists. Course in the art of measurement is a book written by Durer in German language and later on translated by Durer himself. The book is considered as the work of a scientific mind, where he brought both wide reading of the ancient and the Renaissance together with his own experimental treatment of practical geometry. Albrecht Durer’s Humanistic Connection Durer’s trip to Italy and his establishment in Nuremberg his companionship with Willibald Pirckhemer combined to form humanism, which was a subject of conversation. Therefore, Durer’s sudden success in adapting the Italian Renaissance and its aesthetic would have been considered as his debut entry into the German early humanism, consequently, into the circle of Pirckheimer of social and intellectual select. His work and his affiliation with Pirckheimer group made him upgrade his culture to a place where even the upper group of Nuremberg artisan society such as the Meistersinger Hans Folz would not match him. Therefore through this, the peculiar social apartness brought anxiety on social identity. For instance, through a letter from Venice to Pirckeimer, he lamented on the oddity of his overall position in the society of Nuremberg. Some of Durer's classic works were made up of beautiful watercolors and decorations specifically for editions owned by Pirckheimer. Durer’s design is considered to be the most striking not only on the evocation of the deep landscape resonant made with music but also with a very careful integration of the different scenes of poems from bucolic and the elegant Greek typeface made from woodcut borders. It is from Pirckheimer’s appearance as a profound humanistic subjection that led to Durer’s art of drawing hence drawing the 1503 Struss D 1503-4; W270. This was the first representation of Renaissance profile scheme by Durer himself and was intended to come up with a design of portrait medallion (Guenther, and Hutchison, 375). Albrecht Durer’s Impacts on Today’s Social Artwork One of the most conspicuous achievements of Albrecht Durer's observations was that there were no two impressions that were made from a copperplate were supposed to look alike, just as having two casts look alike. He used to mention his almost casually, and this seemed to be a minute point, but has really influenced the various artists of today who are more interested in the old prints. He engraved the plates by himself where he never delegated any work to an assistant and he was impressed that the impressions he was making eventually came out different. A passage quoted by Joseph Koerner from on Albrecht Durer and his legacy, which was a catalog to the present British Museum show, indicated the symbolism of having two different impressions from his painting. He asserted that all human actions are considered to be different from each other. He continued to say that there has never been an artist who could make two things that are so close and similar in their appearances that could not be distinguished since in all our works, there is nothing quite considered together like any other thing and thus we cannot avoid this. Today's artists have really borrowed from all these ideas of Durer in their quest to bring out issues of creativities in their artworks. According to David Hotchkiss Price, he turns his considerable talents of what he perceives as the primary nexus of humanism to the development of Durer’s are and thoughts. Therefore, from the book Albrech...
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