1506 Brush drawing on blue Venetian paper, 270 x 208 mm Graphische Sammlung Albertina, Vienna There are a total of 22 preliminary studies, every one of which can be considered an autonomous work of art, in which D?rer prepared the Feast of the Rose Garlands (National Gallery, Prague). The head of the lute-playing angel by the Madonna's feet is a masterpiece of drawing. The technique of the brush drawing with white highlights on blue paper was one D?rer became acquainted with in Venice. The interplay of white and dark parallel and cross-hatchings which gently follow the curves of the face create the plastic effect of the light and dark shades.Artist:D?RER, Albrecht Title: Head of an Angel Painted in 1501-1550 , German - - graphics : study
Painting ID:: 63640
Albrecht Durer 1506 Brush drawing on blue Venetian paper, 270 x 208 mm Graphische Sammlung Albertina, Vienna There are a total of 22 preliminary studies, every one of which can be considered an autonomous work of art, in which D?rer prepared the Feast of the Rose Garlands (National Gallery, Prague). The head of the lute-playing angel by the Madonna's feet is a masterpiece of drawing. The technique of the brush drawing with white highlights on blue paper was one D?rer became acquainted with in Venice. The interplay of white and dark parallel and cross-hatchings which gently follow the curves of the face create the plastic effect of the light and dark shades.Artist:D?RER, Albrecht Title: Head of an Angel Painted in 1501-1550 , German - - graphics : study Head of an Angel 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.
