Albrecht durer biography summary graphic organizers

One of the most talented and diverse Renaissance artists of all time, Dürer was born on 21 May 1471, third child and second son of his parents, who had between fourteen and eighteen children. A supremely gifted and versatile German artist of the Renaissance period, one of the strongest artistic and commercial centers in Europe during the fifteenth and sixteenth centuries. He was a brilliant painter, draftsman, and writer, though his first and probably greatest artistic impact was in the medium of printmaking that had a illustrative, graphical visionary quality.

He produced the earliest known self-portrait drawing in European art when he was 13, and showed such a precocious talent in drawing that he started as an apprentice to Michael Wolgemut at the age of fifteen in 1486 and became very famous by his mid-twenties. He has been conventionally regarded as the greatest artist of the Northern Renaissance.

Dürer exerted a huge influence on the artists of succeeding generations, especially in printmaking, the medium through which his contemporaries mostly experienced his art, as his paintings were predominately in private collections located in only a few cities.

His success in spreading his reputation across Europe through prints were undoubtedly an inspiration for major artists such as Raphael, Titian, and Parmigianino, all of whom collaborated with printmakers in order to promote and distribute their work.

He died at 56, leaving a huge sum of artworks and engravings.
Read more about what his work meant and contemporary vision here:
www.clarkart.edu/exhibitions/durer/content/exhibition.cfm
www.albrecht-durer.org

critical tools (especially for object-oriented historians) that countered material degradation. Riegl celebrated such images because they could perfectly make up for the loss of an original, documenting a monument in time while still permitting that object’s ineluctable destruction. For Atkinson, such a means of accessing the past inadvertently undermines comprehending the way that people actually encountered architecture through sound. Atkinson instead argues that a panoply of noises emitted in architectural and spatial contexts—be it music, the articulation of words, or other sounds—was a fundamental medium that linked communities to history through a process that was continuously revised. Atkinson concludes with Ruskin and Rossi, discerning in their texts an apprehension embedded in the discourse of architectural history, centered on the tension between the material instability of architecture and its function as a means of iterating the past. The epilogue emphasizes Venice at the expense of Florence, which is slightly unanticipated given the title of the study. It is but a small quibble; the choice to invoke figures and issues important to the emergence of art and architectural history explains the shift in focus. A question that surfaces with such a book is the extent to which a study of the historical dimensions of sound belongs within architectural history’s bailiwick. Asserting the essential intermarriage of noise, buildings, and urban space—especially the spatial dimensions of Florence’s soundscape and the myriad ways in which buildings were heard—Atkinson nimbly opens the field to a previously underrecognized aspect of early modernity. While Atkinson has published some of the text’s arguments elsewhere, his book should be on the shelves of scholars and general audiences alike. One hopes this excellent book is a gesture that will encourage other original approaches in t