By R. Kopfenberg
Таинственный и гениальныйнемецкий творец, чьи интересыне ограничивались только живописью или гравюрой. Альбрехт Дюрер был настоящим пророком германского Возрождения. Его кисть создавала портреты императоров и сочувствовала нищим крестьянам. Он создавал пушки и учил ландскнехтов, как правильно разрушать замки и крепости. И в то же время он вырезал на гравировальных досках изумительную серию офортов, проклинавших ужасы войны и всех гибельных для человечества напастей. Альбом с репродукциями великого Дюрера.
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Additional resources for Albrecht Duerer
Thus the nicknames given to Bonnard and Denis, names which they readily accepted, reflected their aesthetic inclinations. The names in each case defined the source of their art and, ultimately, that of the two Nabis parties, one of which gravitated towards a vivid, dynamic representation of life, the other towards a more religious, stylized and symbolic representation. Both wings agreed that art should not aim to copy nature. 6 The theory of equivalences was the foundation of Nabis aesthetics. This may well provide the explanation for the respect which each member of the fraternity felt for the work of the others.
1890. Cloth, 150 x 50 cm. Musée d’Orsay, Paris. 26. Paul Ranson, Women in White, c. 1895. Wool on canvas, needlepoint tapestry, 150 x 98 cm. Musée d’Orsay, Paris. qxp 10/24/2008 3:44 PM Page 39 27. Paul Ranson, The Tiger, 1893. Colour lithograph. The State Hermitage Museum, St. Petersburg. 28. Maurice Denis, Bacchanalia, 1920. 5 cm. Bridgestone Museum of Art, Tokyo. qxp 10/24/2008 3:50 PM Page 41 some traces of Symbolism may be found in the works of the last three painters, but they are so rare and so faint that these artists cannot possibly be regarded as Symbolists.
For example, works by Denis, Sérusier and even Vallotton were included in the widely representative exhibition of European Symbolism held in 1975-76 in Rotterdam, Brussels, Baden-Baden and Paris,3 while neither Bonnard, Vuillard nor Roussel were featured. It is true that 25. Pierre Bonnard, The Dressing Gown, c. 1890. Cloth, 150 x 50 cm. Musée d’Orsay, Paris. 26. Paul Ranson, Women in White, c. 1895. Wool on canvas, needlepoint tapestry, 150 x 98 cm. Musée d’Orsay, Paris. qxp 10/24/2008 3:44 PM Page 39 27.