Fine Art Poster
From £37
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.
Landsknecht - Albrecht Dürer
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£37.00 GBP
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£37.00 GBP
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Beschrijving
A detailed pen and ink study of a German mercenary by Albrecht Dürer, capturing the flamboyant costume and martial posture of a sixteenth-century Landsknecht.
This pen and ink drawing by Albrecht Dürer depicts a Landsknecht, a member of the mercenary infantry units that gained prominence in the late fifteenth and sixteenth centuries. Dürer captures the figure in a characteristic pose, carrying a long polearm across his shoulders. The soldier wears the flamboyant attire associated with these mercenaries, including a hat adorned with large, sweeping feathers and slashed garments that reveal the fabric beneath. The artist employs a precise, economical line to define the form, using cross-hatching to suggest volume and shadow within the folds of the clothing.
The drawing reflects Dürer's interest in the human figure and contemporary social types. The Landsknecht was a recurring subject in German art of the period, often portrayed for their distinct fashion and martial bearing. Dürer's hand is evident in the confident, rhythmic strokes that delineate the contours of the body and the texture of the plumage. The inclusion of the artist's monogram at the bottom, alongside a numbering notation, suggests this work was part of a larger collection or study series. The inscription at the top right, written in a contemporary hand, provides further context regarding the subject's identity as a German mercenary.
As a study, the work offers insight into Dürer's observational process. He focuses on the silhouette and the weight of the figure, balancing the verticality of the polearm with the stance of the soldier. The lack of a background ensures the viewer's attention remains on the costume and the physical presence of the mercenary. This piece remains a clear example of Dürer's technical ability to render complex textures and human anatomy through simple, direct mark-making, providing a window into the visual culture of the Holy Roman Empire during the early sixteenth century.
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Productie
Elke print wordt op bestelling gemaakt met 12-kleuren giclée-druk op FSC-gecertificeerd archiefpapier. Ontworpen in Groot-Brittannië en gedrukt in het dichtstbijzijnde productiecentrum om verspilling tegen te gaan en de levering te versnellen.
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- Giclée-print van museumkwaliteit voor rijke, kleurvaste kleuren
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- Lijsten in zwart, naturel hout, donker hout of wit
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Giclée van museumkwaliteit op FSC-gecertificeerd archiefbestendig mat papier, met opties voor inlijsting en canvas.
- Papierformaten: A4, A3, A2, A1, A0 en B2 (50×70 cm)
- Canvas: XS (20×30 cm) tot Large (60×90 cm)
- Lijsten: zwart, naturel hout, donker hout of wit
Maak de look compleet
Landsknecht - Albrecht Dürer
Normale prijs
Vanaf £37.00 GBP
Actieprijs
Vanaf £37.00 GBP
Normale prijs
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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