Étiqueté : Albrecht Dürer

Exposition : “Rhinoceros – a fabulous animal works on paper from three centuries”, Nuremberg, Germanisches Nationalmuseum, du 21 juillet 2022 au 26 juillet 2023

The studio exhibition presents images of the rhinoceros on paper from three centuries. This period saw the transformation from a creature of the imagination to a realistically-depicted animal. In 1500, almost no-one in Europe had ever actually seen a rhinoceros, and the legendary creature was associated with myth and many stories. It was considered wild, dangerous and the elephant’s natural enemy, but also exotically fascinating, testimony to an unknown world. Two images, in particular, were...

Conférence : Oskar Bätschmann, « Form- und Inhaltsanalyse. Wölfflin und Panofsky über Dürer », Munich, Zentralinstitut für Kunstgeschichte, 6 juillet 2022, 18h15-18h45

1911 hob Heinrich Wölfflin in der Preussischen Akademie der Wissenschaften den „formal-analytischen Gesichtspunkt“ seines Dürer-Buches hervor. Im Vorwort zu Hercules am Scheideweg (1930) wies Erwin Panofsky auf die Untrennbarkeit von Form- und Inhaltsanalyse hin und berief sich ausdrücklich auf Wölfflins Ausführung zu Leonardos Abendmahl, die grundsätzlich aufs „Formale“ eingestellt sei und dennoch deutlich mache, wie gerade ein ikonographischer Vergleich die stilgeschichtliche Bedeutung der Lösung Leonardos erscheinen lasse. Panofsky bezeichnete 1924 die Wölfflin’schen Grundbegriffe als die...

Exposition : “Hans Hoffmann. A European artist of the Renaissance”, Nuremberg, German National Museum, du 12 mai au 8 août 2022

  Nuremberg citizen and European artist: Hans Hoffmann (ca. 1545/50 – 1591/92) is considered one of the leading lights of the “Duerer Renaissance”. His artistic reputation is based on his numerous copies of works by the old master. Imitation was not a practice he alone specialised in, however; rather, it was part of a European art phenomenon which reached its peak in around 1600. In comparing the work of Hoffmann with that of Duerer and...

Exposition : “Albrecht Dürer – Gravure et Renaissance”, Chantilly, Château de Chantilly, du 4 juin au 2 octobre 2022

Considéré de son vivant comme un génie universel, Albrecht Dürer n’en finit pas de fasciner. Par ses gravures, il a contribué à façonner la Renaissance européenne en se plaçant au cœur des échanges artistiques. Trop rarement exposé en France, cet immense artiste est exceptionnellement mis à l’honneur à Chantilly, à l’aide de plus de 200 œuvres ! Pour la première fois, deux collections majeures d’œuvres de Dürer en France, celle du musée Condé à Chantilly...

Parution : Sara van Dijk, “Remember Me: Renaissance Portraits”, Rotterdam, NAI010 publishers, 2022

  How Renaissance Old Masters expanded the terms and vocabulary of portraiture In the Renaissance, artists across Europe produced lifelike portraits with new virtuoso realism and exactitude, immortalizing not only kings and noblemen but, increasingly, bankers, merchants and scholars. These paintings, busts, prints and drawings still bear witness to the power, status, ambitions, friendships and religious convictions of their subjects. Whether they are lovers, celebrities or religious devotees, the people portrayed here implore the onlookers...

Séminaire : « On the Move – Artists, Ideas, Objects », University of Cambridge, en ligne, 02 février-16 mars 2022,

The History of Art Graduate Seminar Series, University of Cambridge : “On the Move – Artists, Ideas, Objects.” Cambridge Graduate Seminar Series : Over the course of seven seminars, this year’s graduate seminar series features a range of speakers who will explore topics such as migration, cross-culturalism, networks of artistic exchange, colonialism and indigeneity across different time periods, materials, and geographies. The seminars will take place in person for those able to join in Cambridge,...

Exposition : Albrecht Dürer, Saint-Pétersbourg, Musée de l’Ermitage, jusqu’au 28 mars 2022

This round-anniversary exhibition of Albrecht Dürer (1471–1528) presenting more that 400 items has been organized by the State Hermitage in conjunction with the Pushkin State Museum of Fine Arts, the National Library of Russia, the State Tretyakov Gallery and the Yaroslavl Art Museum. The core of the display is copperplate engravings and woodcuts that demonstrate the artist’s unsurpassed mastery in that field of creativity. They are all significant Dürer prints – the Apocalypse, Passion and Life of the Virgin series, as...

Exposition : Dürer’s Journeys: Travels of a Renaissance Artist, Londres, National Gallery, du 20 novembre 2021

The first major UK exhibition of German Renaissance artist Albrecht Dürer in nearly 20 years. Through paintings, drawings, prints, and letters, this exhibition follows Dürer’s travels across Europe, bringing to life the artist himself, and the people and places he visited. Charting his journeys to the Alps, Italy, Venice and the Netherlands, the exhibition will explore how Dürer’s travels sparked an exchange of ideas with Netherlandish and Italian Renaissance artists, fuelled his curiosity and creativity,...

Colloque en ligne : Forgery, Fraud, Mystification, Zurich, Université de Zurich, 6-7 mai 2021

Forgery, Fraud, Mystification. A Perspective on Italian Renaissance Literature and Art The international workshop promoted by the Graduate Campus of the University of Zurich aims at being, both, a meeting point to examine the procedures underlying the material falsification of art and literary works, and an opportunity to share, discuss and find new approaches to thoroughly study the influence that forgeries and similar practices exercised on the Renaissance culture, with special focus on the Italian...

Parution : James Hutson, « Gallucci’s Commentary on Dürer’s ‘Four Books on Human Proportion’: Renaissance Proportion Theory », Open Book Publishers, 2020

In 1591, Giovanni Paolo Gallucci published his Della simmetria dei corpi humani, an Italian translation of Albrecht Dürer’s Four Books on Human Proportion. While Dürer’s treatise had been translated earlier in the sixteenth-century into French and Latin, it was Gallucci’s Italian translation that endured in popularity as the most cited version of the text in later Baroque treatises, covering topics that were seen as central to arts education, connoisseurship, patronage, and the wider appreciation of...

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