Fine Art Poster
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A giclée print on 200gsm matte fine art paper, using a twelve-colour process for accurate, fade-resistant colour. Supplied unframed, delivered flat or rolled.
Artist Drawing a Portrait of a Man - Albrecht Dürer
Precio habitual
£37.00 GBP
Precio de oferta
£37.00 GBP
Precio habitual
Giclée de archivo
Los marcos vienen listos para colgar
Pago seguro
Hecho bajo pedido
Descripción
A 1525 woodcut by Albrecht Dürer from his treatise on measurement, showing an artist who uses a glass frame and a fixed sight to draw a seated man in correct perspective.
Albrecht Dürer (1471–1528), the German painter and printmaker from Nuremberg, designed this woodcut for his treatise Underweysung der Messung, first published in Nuremberg in 1525. The full title, Underweysung der Messung mit dem Zirckel und Richtscheyt, means instruction in measurement with compass and ruler. The book set out geometry for artists and craftsmen, and this illustration shows one of its drawing devices in use. The scene is a bedroom with a canopied bed hung with heavy curtains. On the left a man sits in a chair with a scrolled arm, turned in profile towards the artist. On the right the artist stands at a tall table that holds an upright wooden frame with a pane of glass. He keeps his eye at a small sight on top of a vertical rod, so that his point of view stays fixed, and with a brush he traces the outline of the sitter onto the glass. A small pot stands on the table, a long chest stands against the wall behind him, and a candlestick and a hat sit on the floor between the two men. Dürer drew the scene for the block in close parallel hatching. The lines model the deep folds of the bed curtains and the clothes of both men, while the frame, the rod and the legs of the table are drawn as plainly as a diagram. That plain drawing suits a book that teaches a method: the reader can see how each part of the device is built and where the artist must stand. Impressions of the woodcut are held by The Metropolitan Museum of Art in New York (17.37.90), the Rijksmuseum in Amsterdam and the British Museum in London. It is catalogued as Bartsch 146. The Met's sheet measures 13.3 by 14.9 cm.
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Fabricación
Cada impresión se realiza bajo pedido mediante impresión giclée de 12 colores en papel de archivo con certificación FSC. Diseñado en Gran Bretaña e impreso en su centro de producción más cercano para reducir residuos y acelerar la entrega.
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- Papel artístico mate de calidad de archivo, con certificación FSC
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Impresión giclée de calidad de museo sobre papel mate de archivo con certificación FSC, con opciones de lienzo y enmarcado.
- Tamaños de papel: A4, A3, A2, A1, A0 y B2 (50×70 cm)
- Lienzo: XS (20×30 cm) a grande (60×90 cm)
- Marcos: negro, madera natural, madera oscura o blanco
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Artist Drawing a Portrait of a Man - Albrecht Dürer
Precio habitual
Desde £37.00 GBP
Precio de oferta
Desde £37.00 GBP
Precio habitual
Fine Art Poster / Small Square (30x30 cm) / -
Artist Biography
Albrecht Durer
Dürer brought the Italian Renaissance to northern Europe and took northern European printmaking to Italy. He went both ways. He visited Venice twice (1494-95 and 1505-07) and absorbed the colour, light, and anatomical precision of Bellini and Mantegna. He brought back a confidence in the human figure that German art had not previously possessed. In return, he showed the Venetians what could be done with a woodcut and an engraving burin.
He was born in Nuremberg, the son of a Hungarian goldsmith. He trained as a goldsmith himself before apprenticing with the painter and printmaker Michael Wolgemut. The metalwork training gave him the manual precision that made his prints extraordinary. Melencolia I, Knight, Death and the Devil, and Saint Jerome in His Study, all made between 1513 and 1514, are among the finest engravings ever produced. The density of cross-hatching, the control of tonal gradation, the rendering of fur, feathers, and stone: these are virtuoso performances in a medium that most artists treated as reproductive.
He drew a rhinoceros from a description and a sketch sent by letter. He had never seen one. Dürer's Rhinoceros (1515) is anatomically wrong in several respects (the animal has an extra horn and armour plating) but it remained the standard European image of a rhinoceros for three centuries.
He was one of the first artists to paint self-portraits as a primary subject. The Self-Portrait at Twenty-Eight (1500) shows him facing the viewer directly, with long hair and a fur coat, in a pose traditionally reserved for Christ. It was either an act of supreme confidence or deliberate blasphemy. Probably both.
He was born in Nuremberg, the son of a Hungarian goldsmith. He trained as a goldsmith himself before apprenticing with the painter and printmaker Michael Wolgemut. The metalwork training gave him the manual precision that made his prints extraordinary. Melencolia I, Knight, Death and the Devil, and Saint Jerome in His Study, all made between 1513 and 1514, are among the finest engravings ever produced. The density of cross-hatching, the control of tonal gradation, the rendering of fur, feathers, and stone: these are virtuoso performances in a medium that most artists treated as reproductive.
He drew a rhinoceros from a description and a sketch sent by letter. He had never seen one. Dürer's Rhinoceros (1515) is anatomically wrong in several respects (the animal has an extra horn and armour plating) but it remained the standard European image of a rhinoceros for three centuries.
He was one of the first artists to paint self-portraits as a primary subject. The Self-Portrait at Twenty-Eight (1500) shows him facing the viewer directly, with long hair and a fur coat, in a pose traditionally reserved for Christ. It was either an act of supreme confidence or deliberate blasphemy. Probably both.
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Fine Art Framed
From £59
The same fine art print in a solid wood frame with UV-protective acrylic glaze and rigid backing. Five frame colours. Arrives ready to hang.
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