Altdorfer

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Altdorfer

(German ˈaltdɔrfər)
n
(Biography) Albrecht (ˈalbrɛçt). ?1480–?1538, German painter and engraver: one of the earliest landscape painters
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3 "REALMS OF IMAGINATION: ALBRECHT ALTDORFER AND THE EXPRESSIVITY OF ART AROUND 1500" (STADEL MUSEUM, FRANKFURT) Basically, this exhibition presented the sixteenth century's version of camp.
A short walk from the Lenbachhaus is Munich's famed Alte Pinakothek, best known for its magnificent collection of Old Master paintings, particularly Albrecht Altdorfer's "Battle of Issus," 1529, and many large-scale compositions by Peter Paul Rubens.
Although Cranach and Albrecht Altdorfer are often coupled as members of the Danube School, there is no evidence, but a strong possibility that they knew each other.
Many of the most prominent artists of the day are represented, including Titian, Parmigianino, Albrecht Altdorfer, Albrecht Durer, Peter Paul Rubens, Guido Reni, and Jacques Callot.
He came to know the works of such greats as Hieronymus Bosch, Peter Bruegel the Elder, and Albrecht Altdorfer. He painted portraits of the imperial family and the first series of his Four Seasons, composite heads with allegorical meanings.
The greatest painter of the Danube School was Albrecht Altdorfer (c.
For example, Schama demonstrates convincingly how nationalism in Germany was inseparable from its extensive "wild" forest areas, from the sixteenth-century paintings of the landscape artist Albrecht Altdorfer to the twentieth-century mythology of the Nazis.
Similar conclusions are reached regarding the stark contrast between Albrecht Altdorfer's sixteenth-century negative depiction of the synagogue in Regensburg and "de Witte's respectful portrayals of the Jewish congregation and the architectural achievement of which it was so proud" (p.
In addition to the already mentioned essays by Vaughan and Ottmann, Paolo Chiarini's piece on '"Alte Meister" in klassisch-romantischem Kontext: Goethe, Friedrich Schlegel and die "Deutsche Renaissance"' illuminates the differing artistic and ideological agendas that Schlegel and Goethe pursued in their evaluations of paintings by artists such as Stephan Lochner and Albrecht Altdorfer, while Nicholas Boyle provides a masterly discussion of 'Goethe's Later Cycles of Drawings' in their literary, biographical, and social contexts.