1526 Chalk with white highlights, 373 x 265 mm Staatliche Museen, Berlin This is a study for the Apostle in the great Munich painting. In its expression of spiritual excitement the head in this drawing is decidedly superior to the one in the painting. Tossing briskly, the locks of hair continue the theme of movement. At the same time, the natural appearance of the hair seems to have been oddly neglected in the rendering ("pretzel locks"). Drawings of this type, in very large format and only superficially finished, do not occur in the earlier period.Artist:D?RER, Albrecht Title: Head of St Mark Painted in 1501-1550 , German - - graphics : study
Painting ID:: 63598
Albrecht Durer 1526 Chalk with white highlights, 373 x 265 mm Staatliche Museen, Berlin This is a study for the Apostle in the great Munich painting. In its expression of spiritual excitement the head in this drawing is decidedly superior to the one in the painting. Tossing briskly, the locks of hair continue the theme of movement. At the same time, the natural appearance of the hair seems to have been oddly neglected in the rendering ("pretzel locks"). Drawings of this type, in very large format and only superficially finished, do not occur in the earlier period.Artist:D?RER, Albrecht Title: Head of St Mark Painted in 1501-1550 , German - - graphics : study Head of St Mark 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.
