Albrecht Dürer and the Venetian Renaissance
Out of Print
- Author: Katherine Crawford Luber, Philadelphia Museum of Art
- Date Published: May 2005
- availability: Unavailable - out of print February 2006
- format: Hardback
- isbn: 9780521562881
Out of Print
Hardback
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Katherine Crawford Luber examines twenty-five paintings by the German artist in an effort to reevaluate his relationship to contemporary Italian art and his status as a painter. Luber explains how DÜrer appropriated Venetian techniques and suggests that the artist was engaged in the exploration of an atmospheric, coloristic perspective. She argues that this exploration unifies DÜrer's work and necessitates a reassessment of the critical division between his painted and graphic work.
Read more- Never before seen photo documentation of Dürer's underdrawing in paintings
- New assessment of Dürer's relationship with Italian Renaissance
Reviews & endorsements
"groundbreaking"
HNA Review of BooksSee more reviews"The overall achievement of Luber's engaging book is to bring one to a closer, practical understanding of Dürer's relationship with Venetian art and art theory. More than this, she has provided the tools with which to consider fundamental questions about the relationship between praxis and thought, between technique and idea, questions that bring us to the very heart of the creative process." H-Net Andrew Morrall, Bard Graduate Center, New York
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×Product details
- Date Published: May 2005
- format: Hardback
- isbn: 9780521562881
- length: 288 pages
- dimensions: 238 x 160 x 28 mm
- weight: 0.7kg
- contains: 93 b/w illus. 8 colour illus.
- availability: Unavailable - out of print February 2006
Table of Contents
1. Introduction
2. Dürer's mythic and real presence in Italy: an argument against two separate journeys
3. The Feast of the Rose Garlands I: Dürer's appropriation of Venetian painterly techniques
4. The Feast of the Rose Garlands II: Dürer, Giovanni Bellini, and eristic imitation in the Renaissance
5. The fulfillment of the old by the new: concordance of painterly technique, visual content, and hieratic tradition in the Virgin with the Pear
6. Dürer's Maximilian portraits: an investi
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