传记

阿尔道夫出生在雷根斯堡或阿尔道夫1480左右。

他从他的父亲获得了艺术感兴趣,乌尔里希阿尔道夫,他是一个画家,纤细画家。开始他的职业生涯中,他赢得了公众的注意力通过创建小型亲密适度扩展在非传统媒体工作和古怪的主题。他定居在自由帝国的城市雷根斯堡,位于一个小镇多瑙河1505年,最终成为建筑师和一个镇议会议员。他第一次签署日期到c工作。1506年,包括雕刻和绘画这样的圣弗朗西斯的Stygmata和圣杰罗姆。他的模型是乌银和铜雕刻的研讨会雅格布德Barbari和Albrecht Durer.

大约1511或更早,他走下河和南阿尔卑斯山脉,那里的风景了,他成为了第一个现代意义上的风景画家,使他的领袖多瑙河学校一个圆,开创景观作为一个独立的流派,在南部德国。从1513年他的服务马克西米利安我在因斯布鲁克,在那里他受到朝廷的一些佣金。在动荡的新教改革,他主要致力于建筑,绘画的时期,显示他的越来越多的关注架构,包括基督诞生的处女.

1529年,他执行亚历山大在政务为杜克大学巴伐利亚威廉四世。在1520年代他回到雷根斯堡作为一个富有的人,并成为一个城市的委员会成员。他还负责雷根斯堡的防御工事。

在这一时期他的作品受到艺术家的影响等乔尔乔内和卢卡斯Cranach由他所示受难。1535年,他在维也纳。他死于雷根斯堡在1538年。

阿尔道夫的遗体的生存工作由55电池板,120图纸,125木刻版画,78版画,36蚀刻画、24绘画在羊皮纸上,碎片从壁画的澡堂Kaiserhof雷根斯堡。这个生产延伸至少在此期间1504 - 1537。他签署和日期为每个作品之一。

绘画

 

基督离开他的母亲

 

Albrecht阿尔道夫:塞巴斯蒂安坛在圣弗洛里安的修道院,上奥地利州

阿尔道夫的先锋画家纯风景,让他们画的主题,以及作品由景观;这些包括他的作品。他相信人类的图不应该干扰自然,而是参与它的自然过程或模仿。和发展的景观风格卢卡斯Cranach老,他显示了多瑙河流域的丘陵景观浓密的森林的下垂和摇摇欲坠的冷杉和落叶松挂着苔藓,并且经常戏剧性上升或落日色彩。他的景观与人行桥 (伦敦国家美术馆1518 - 1520年)声称是第一个纯景观油。在这幅画里,阿尔道夫地方一棵大树切断的利润中心的景观,使其成为中心轴,专注在一块。他使用神人同形同性论给树人类肢体的布料等品质。他还做了许多好完成图纸,主要是风景,和笔水彩画在1522年与樵夫等景观。打开画在地面上一块空地周围的一个巨大的树放在中心,主导。这姿势和做手势,如果是人类,向外伸展的树枝在每一个角落。在树干上,挂着一张三角墙的圣地。在当时,这样的神社可能庇护一个受难的形象或圣母玛丽,但是因为它是背对着观众,我们不确定什么是真的。在树的底部,一个渺小的人物一个坐着的人,交叉腿,持有一把刀斧,宣称他的社会地位/占领。

同时,他经常描绘的场景历史和圣经的主题,在大气的风景。他最好的宗教场景是强烈的,闪闪发光的灯,发光的颜色有时近乎表现主义的。他们经常描绘基督和他的母亲之间亲密的时刻,或各种各样的圣人。骶杰作,其中最著名的宗教的艺术作品中世纪是的传说圣塞巴斯蒂安和的基督的热情所谓的塞巴斯蒂安坛圣弗洛里安的修道院(Stift Sankt Florian)附近林茨,上奥地利州。当封闭的四个面板显示的装饰画的传说圣塞巴斯蒂安的殉难,而打开翅膀显示耶稣受难像。今天拆除和祭坛的装饰品祭坛的台描绘了两个最后的场景,埋葬和复活被卖给艺术历史博物馆在维也纳在1923年和1930年。这两个作品分享类似的正式结构,由一个开放的景观之外,通过开放的一个黑暗的洞穴。复活面板上完成的日期是1518年。

阿尔道夫经常扭曲视角微妙的影响。他的捐赠数据经常画完全与主场景的规模,在画之前的几个世纪。他还画了些肖像;他的画作品并不大。在他后期的作品中,阿尔道夫更对矫揉造作,开始描绘了人类形体意大利的整合模型,以及控制与弗兰克的图片颜色。

绘画在慕尼黑

 

亚历山大在政务,1529,
木材、158、4×120,3厘米Alte Pinakothek,慕尼黑。

他,而非典型政务之战(或亚历山大1529年)委托进行的巴伐利亚公爵威廉四世作为一系列的八个历史战争场面在慕尼黑Residenz注定要挂。Albrecht阿尔道夫的描述目前在公元前333年亚历山大大帝击败大流士三世争夺在小亚细亚是巨大的野心,席卷在范围、生动的意象,丰富的符号,显然heroic-the伊利亚特的绘画,文学评论家弗里德里希•施莱格尔建议^[3]在绘画中,聚集的成千上万的士兵包围中央行动:亚历山大在他白色的骏马,领先的充电两行称,破折号后逃离大流士,他看起来焦急地从战车在他的肩上。对方的军队制服的颜色:大流士用蓝色的红色和亚历山大的军队。亚历山大之战的上半部分扩展与虚幻迅速变成一个灭弧全景理解绕线的全球和广阔的天空。胜利还躺在平面表面;太阳比月亮就像帝国和盟军军队成功地击退了土耳其人。通过景观内的质量数的士兵混合/绘画,这表明他认为景观的使用和描述是一样重要的历史事件,如战争。他放弃了市长办公室的雷根斯堡接受欧盟委员会。一些他的其他画作像这世界末日的两个巨大的军队主要由一个奢侈的景观从很高的角度,看起来在整个地中海南部从现代土耳其的岛塞浦路斯的嘴尼罗河和红海(后面的地峡左)在另一边。然而他的风格是一个开发的微型的战争场面,他很早之前就完成了马克西米利安我在他的的手稿胜利的队伍在1512 - 14所示。它被认为是最早的绘画展示地球的轮廓从高空中。

现在的战斗Alte Pinakothek,最好的收藏品阿尔道夫的油画,其中也包括他的小圣乔治和龙(1510),石油羊皮纸,这两个数字是很小的,几乎淹没在茂盛的,茂密的森林,塔。阿尔道夫似乎夸大了森林相比,数据的测量:树叶似乎比马大,显示自然和景观的重要性。他还强调在工作,通过显示的向上增长的森林垂直和对角线的树干。有一个小的森林在右下角,它提供了一个休息你的眼睛。它在绘画和创建深度是唯一你可以看到人物的地方。人类形体完全吸收森林的厚度。神奇的光效果提供一种神秘和溶解对象的轮廓。没有光的对比,数据将融入周边环境。阿尔道夫的数据总是补他的浪漫风景;他借了Albrecht Durer发明的肖像,但全景设置个人和无关的幻想荷兰的风景一个苏珊娜在浴缸里的石刑长老(1526)设置的意大利风格的摩天大楼外宫显示了他对建筑的兴趣。另一家小型石油在羊皮纸上,多瑙河与城堡景观价值(c。1520)是最早的准确的地形画设置一个特定的建筑,成为陈词滥调的类型在后面的世纪。

版画

 

阿尔道夫的蚀刻与城市景观湖(1520年代),国家博物馆在华沙.

阿尔道夫是一个重要的版画复制匠,许多雕刻,约九十三木刻版画。其中包括一些胜利的马克西米利安,他跟着可能设定的整体风格汉斯·伯克梅尔,虽然他最终得以逃脱从这个在他描绘的更加无序行李搬运车,还穿过一座山的风景。然而他的大部分最好的打印是蚀刻,很多风景;在这些他最容易使用他的绘画风格。^[5]他是最成功的一个早期腐蚀装置,和德国是他那个时代的版画复制匠做没有一本书插图。他经常蚀刻和雕刻技术在一个板相结合,生产约122凹版印刷。阿尔道夫的许多照片非常小,他被认为是主要的艺术家被称为集团的成员小主人.^[6]亚瑟Mayger后认为他的图形工作有点缺乏技能,但“亲密的个人接触”,并指出他对景观特征。

Biography

Altdorfer was born in Regensburg or Altdorf around 1480.

He acquired an interest in art from his father, Ulrich Altdorfer, who was a painter and miniaturist. At the start of his career, he won public attention by creating small, intimate modestly scaled works in unconventional media and with eccentric subject matter. He settled in the free imperial city of Regensburg, a town located on the Danube River in 1505, eventually becoming the town architect and a town councillor. His first signed works date to c. 1506, including engravings and drawings such the Stygmata of St. Francis and St. Jerome. His models were niellos and copper engravings from the workshops of Jacopo de Barbari and Albrecht Dürer.

Around 1511 or earlier, he travelled down the river and south into the Alps, where the scenery moved him so deeply that he became the first landscape painter in the modern sense,^[1] making him the leader of the Danube School, a circle that pioneered landscape as an independent genre, in southern Germany. From 1513 he was at the service of Maximilian I in Innsbruck, where he received several commissions from the imperial court. During the turmoil of the Protestant Reformation, he dedicated mostly to architecture; paintings of the period, showing his increasing attention to architecture, include the Nativity of the Virgin.

In 1529 he executed The Battle of Alexander at Issus for Duke William IV of Bavaria. In the 1520s he returned to Regensburg as a wealthy man, and became a member of the city's council. He was also responsible for the fortifications of Regensburg.

In that period his works are influenced by artists such as Giorgione and Lucas Cranach, as shown by his Crucifixion. In 1535 he was inVienna. He died at Regensburg in 1538.

The remains of Altdorfer's surviving work comprises 55 panels, 120 drawings, 125 woodcuts, 78 engravings, 36 etchings, 24 paintings on parchment, and fragments from a mural for the bathhouse of the Kaiserhof in Regensburg. This production extends at least over the period 1504–1537. He signed and dated each one of his works.

Painting

Altdorfer was the pioneer painter of pure landscape, making them the subject of the painting, as well as compositions dominated by their landscape; these comprise much of his oeuvre. He believed that the human figure should not disrupt nature, but rather participate in it or imitate its natural processes. Taking and developing the landscape style of Lucas Cranach the Elder, he shows the hilly landscape of the Danube valley with thick forests of drooping and crumbling firs and larches hung with moss, and often dramatic colouring from a rising or setting sun. His Landscape with Footbridge (National Gallery, London) of 1518–1520 is claimed to be the first pure landscape in oil. In this painting, Altdorfer places a large tree that is cut off by the margins at the center of the landscape, making it the central axis and focus within the piece. He uses anthropomorphism to give the tree human qualities such as the drapery of its limbs. He also made many fine finished drawings, mostly landscapes, in pen and watercolour such as the Landscape with the Woodcutter in 1522. The drawing opens at ground level on a clearing surrounding an enormous tree that is placed in the center, dominating the picture. It poses and gesticulates as if it was human, splaying its branches out in every corner. Halfway up the tree trunk, hangs a gabled shrine. At the time, a shrine like this might shelter an image of the Crucifixion or the Virgin Mary, but since it is turned away from the viewer, we are not sure what it truly is. At the bottom of the tree, a tiny figure of a seated man, crossed legged, holds a knife and axe, declaring his status in society/occupation.

Also, he often painted scenes of historical and biblical subjects, set in atmospheric landscapes. His best religious scenes are intense, with their glistening lights and glowing colours sometimes verging on the expressionistic. They often depict moments of intimacy between Christ and his mother, or various saints. His sacral masterpiece and one of the most famous religious works of art of the later Middle Agesis The Legend of St. Sebastian and The Passion of Christ of the so-called Sebastian Altar in St. Florian's Priory (Stift Sankt Florian) near Linz, Upper Austria. When closed the altarpiece displayed the four panels of the legend of St. Sebastian’s Martyrdom, while the opened wings displayed the Stations of the Cross. Today the altarpiece is dismantled and the predellas depicting the two final scenes,Entombment and Resurrection were sold to Kunsthistorisches Museum in Vienna in 1923 and 1930. Both these paintings share a similar formal structure that consists of an open landscape that is seen beyond and through the opening of a dark grotto. The date of completion on the resurrection panel is 1518.

Altdorfer often distorts perspective to subtle effect. His donor figures are often painted completely out of scale with the main scene, as in paintings of the previous centuries. He also painted some portraits; overall his painted oeuvre was not large. In his later works, Altdorfer moved more towards mannerism and began to depict the human form to the conformity of the Italian model, as well as dominate the picture with frank colors.

 

Paintings in Munich[edit]

 

The Battle of Alexander at Issus, 1529,
Wood, 158,4 × 120,3 cm Alte Pinakothek, Munich.

His rather atypical Battle of Issus (or of Alexander) of 1529 was commissioned by William IV, Duke of Bavaria as part of a series of eight historical battle scenes destined to hang in the Residenz in Munich. Albrecht Altdorfer's depiction of the moment in 333 BCE when Alexander the Great routed Darius III for supremacy in Asia Minor is vast in ambition, sweeping in scope, vivid in imagery, rich in symbols, and obviously heroic—the Iliad of painting, as literary critic Friedrich Schlegel suggested^[3]In the painting, a swarming cast of thousands of soldiers surround the central action: Alexander on his white steed, leading two rows of charging cavalrymen, dashes after a fleeing Darius, who looks anxiously over his shoulder from a chariot. The opposing armies are distinguished by the colors of their uniforms: Darius' army in red and Alexander's in blue. The upper half of The Battle of Alexanderexpands with unreal rapidity into an arcing panorama comprehending vast coiling tracts of globe and sky. The victory also lies on the planar surface; The sun outshone the moon just as the Imperial and allied army successfully repel the Turks.^[3] By making the mass number of soldiers blend within the landscape/painting, it shows that he believed that the usage and depiction of landscape was just as significant as a historical event, such as a war. He renounced the office of Mayor of Regensburg to accept the commission. Few of his other paintings resemble this apocalyptic scene of two huge armies dominated by an extravagant landscape seen from a very high viewpoint, which looks south over the whole Mediterranean from modern Turkey to include the island of Cyprus and the mouths of the Nile and the Red Sea (behind the isthmus to the left) on the other side. However his style here is a development of that of a number of miniatures of battle-scenes he had done much earlier for Maximilian I in his illuminated manuscript Triumphal Procession in 1512-14. It is thought to be the earliest painting to show the curvature of the Earth from a great height.

The Battle is now in the Alte Pinakothek, which has the best collection of Altdorfer's paintings, including also his small St. George and the Dragon (1510), in oil on parchment, where the two figures are tiny and almost submerged in the lush, dense forest that towers over them. Altdorfer seems to exaggerate the measurements of the forest in comparison to the figures: the leaves appear to be larger than the horse, showing the significance of nature and landscape. He also emphasizes line within the work, by displaying the upward growth of the forest with the vertical and diagonal lines of the trunks. There is a small opening of the forest on the lower right hand corner that provides a rest for your eyes. It serves to create depth within the painting and is the only place you can see the characters. The human form is completely absorbed by the thickness of the forest. Fantastic light effects provide a sense of mystery and dissolve the outline of objects. Without the contrast of light, the figures would blend in with its surrounding environment. Altdorfer's figures are invariably the complement of his romantic landscapes; for them he borrowed Albrecht Dürer's inventive iconography, but the panoramic setting is personal and has nothing to do with the fantasy landscapes of the Netherlands^[4] A Susanna in the Bath and the Stoning of the Elders (1526) set outside an Italianate skyscraper of a palace shows his interest in architecture. Another small oil on parchment, Danube Landscape with Castle Wörth (c. 1520) is one of the earliest accurate topographical paintings of a particular building in its setting, of a type that was to become a cliché in later centuries.

 

Printmaking[edit]

 

Altdorfer's etching Landscape with a city by the lake (1520s),National Museum in Warsaw.

Altdorfer was a significant printmaker, with numerous engravings and about ninety-three woodcuts. These included some for the Triumphs of Maximilian, where he followed the overall style presumably set by Hans Burgkmair, although he was able to escape somewhat from this in his depictions of the more disorderly baggage-train, still coming through a mountain landscape. However most of his best prints are etchings, many of landscapes; in these he was able most easily to use his drawing style. He was one of the most successful early etchers, and was unusual for his generation of German printmakers in doing no book illustrations. He often combined etching and engraving techniques in a single plate, and produced about 122 intaglio prints altogether. Many of Altdorfer's prints are quite small in size, and he is considered to be of the main members of the group of artists known as the Little Masters.^[6] Arthur Mayger Hind considers his graphical work to be somewhat lacking in technical skill but with an "intimate personal touch", and notes his characteristic feeling for landscape.

 

Public life[edit]

As the superintendent of the municipal buildings Altdorfer had overseen the construction of several commercial structures, such as a slaughterhouse and a building for wine storage, possibly even designing them. He was considered to be an outstanding politician of his day. In 1517 he was a member of the "Ausseren Rates", the council on external affairs, and in this capacity was involved in the expulsion of the Jews, the destruction of the synagogue and in its place the construction of a church and shrine to the Schöne Maria that occurred in 1519. Altdorfer made etchings of the interior of the synagogue and designed a woodcut of the cult image of the Schöne Maria.^[8] In 1529–1530 he was also charged with reinforcing certain city fortifications in response to the Turkish threat.

Albrecht's brother, Erhard Altdorfer, was also a painter and printmaker in woodcut and engraving, and a pupil of Lucas Cranach the Elder.