1495 Brush drawing on paper, 32 x 21 cm Mus?e du Louvre, Paris This female nude seen from behind records D?rer's interest in human proportions during his first Italian journey. The attributes, staff and cloth, suggest that this freely drawn nude study was created from a model. The firmly sketched shape of her body forms a charming contrast with the glazed, freely swinging cloth. The head and cloth are executed with gentle brushstrokes and clearly show a spatially plastic relationship between the figure and pictorial space.Artist:D?RER, Albrecht Title: Female Nude from Behind Painted in 1501-1550 , German - - graphics : study
Painting ID:: 63670
Albrecht Durer 1495 Brush drawing on paper, 32 x 21 cm Mus?e du Louvre, Paris This female nude seen from behind records D?rer's interest in human proportions during his first Italian journey. The attributes, staff and cloth, suggest that this freely drawn nude study was created from a model. The firmly sketched shape of her body forms a charming contrast with the glazed, freely swinging cloth. The head and cloth are executed with gentle brushstrokes and clearly show a spatially plastic relationship between the figure and pictorial space.Artist:D?RER, Albrecht Title: Female Nude from Behind Painted in 1501-1550 , German - - graphics : study Female Nude from Behind b.May 21, 1471, Imperial Free City of Nernberg [Germany]
d.April 6, 1528, Nernberg
Albrecht Durer (May 21, 1471 ?C April 6, 1528) was a German painter, printmaker and theorist from Nuremberg. His still-famous works include the Apocalypse woodcuts, Knight, Death, and the Devil (1513), Saint Jerome in his Study (1514) and Melencolia I (1514), which has been the subject of extensive analysis and interpretation. His watercolours mark him as one of the first European landscape artists, while his ambitious woodcuts revolutionized the potential of that medium. D??rer introduction of classical motifs into Northern art, through his knowledge of Italian artists and German humanists, have secured his reputation as one of the most important figures of the Northern Renaissance. This is reinforced by his theoretical treatise which involve principles of mathematics, perspective and ideal proportions.
His prints established his reputation across Europe when he was still in his twenties, and he has been conventionally regarded as the greatest artist of the Renaissance in Northern Europe ever since.
