Albrecht Dürer

Planned at the same time as his great Apocalypse, Dürer’s series of woodcuts illustrating the Passion of Christ, produced between 1497 and 1510, is one of the summits of his art and an astonishing sixteenth-century demonstration of virtuosic printmaking. Dürer’s meditation on the final moments of Jesus’ story is both awe-inspiring and profoundly human.

Albert Durer a Venise et dans les Pays-Bas; autobiographie, lettres, journal de voyages, papiers divers, un livre classique et rare qui a t consid r comme essentiel tout au long de l'histoire de l'humanit , pour que cet ouvrage ne soit jamais oubli , nous chez Alpha Editions avons fait des efforts pour sa pr servation en r ditant ce livre dans un format moderne pour les g n rations pr sentes et futures. Tout ce livre a t reformat , retap et con u. Ces livres ne sont pas constitu s de copies num ris es de leur oeuvre originale et le texte est donc clair et lisible.

V knigu voshli vyderzhki iz teoreticheskikh trudov velikogo nemetskogo zhivopistsa i grafika Albrekhta Djurera - trekh pechatnykh traktatov i rukopisnykh nabroskov k nim. V originale Traktaty Djurera vesma obshirny i v znachitelnoj mere nosjat spetsialnyj kharakter, a takzhe izobilujut povtorenijami. Sostaviteli dannogo sbornika staralis podbirat material takim obrazom, chtoby po nemu mozhno bylo sudit i o postroenii etikh trudov, i obo vsem kruge zatronutykh v nikh voprosov, i o metode izlozhenija, i, prezhde vsego, o vzgljadakh Djurera na iskusstvo. Krome tekstov izdanie soderzhit reproduktsii gravjur, risunkov i chertezhej Djurera.2-e izdanie.Perevodchik: Nesselshtraus Tsetsilija

V etoj knige sdelana podborka naibolee interesnykh pisem, dnevnikovykh zapisej i traktatov nemetskogo khudozhnika. Literaturnoe nasledie zhivopistsa raskryvaet pered chitatelem prezhde vsego uvlechennogo cheloveka, kotoromu nebezrazlichno vse, chto ego okruzhaet. Dazhe zhivopisnye traktaty Djurera lisheny skuchnogo akademizma, pri etom legko prevratjatsja v "nastolnuju knigu" sovremennogo khudozhnika ili cheloveka, gotovogo ovladet osnovami zhivopisnogo masterstva.Perevodchik: Nesselshtraus Tsetsilija

In 1498, with Europe trembling before an Ottoman assault and mortally afraid of what the ominous year 1500 might bring, Albrecht Dürer published his Apocalypse with Pictures, a hallucinatory exploration of the Revelation of St John. Dürer's woodcut technique has never been equalled, and the Apocalypse remains one of the summits of Western art. This edition reproduces all 15 images together with their Bible texts, as well as the frontispiece Dürer added to the second edition.

Obrazovannyj, uvlekajuschijsja, genialnyj, Djurer umel peredavat na sozdannykh im gravjurakh dvizhenie, svet i teni i dazhe... reshat filosofskie problemy. Zapechatleval on obrazy svjatykh i apostolov. I ljudi verili masteru, prinimaja sozdannye im obrazy.

In 1520 Albrecht Durer, then aged 49, undertook a journey to the Netherlands where he hoped to confirm his position as painter to the Imperial Court with the new Emperor, Charles V. It proved to be a momentous episode in his life. 'Not until Durer arrived in the Netherlands could he have realized the full extent of his fame or the esteem felt for him in distant lands. The new surroundings and the reception he enjoyed wherever he went in the Netherlands effected a much needed spiritual recovery. Durer's immense activity and output of work in the Netherlands and the comments he makes in his diary testify to a renewed enthusiasm and confidence and a revival of his interest in all things.' (Philip Troutman) Here, complete, is the text of the diary that Durer carefully kept during his journey, recording everything from trivial expenses to momentous encounters with art and artists. it is an extraordinarily intimate glimpse into the mind of one of the greatest artists of the Western tradition. The text of the diary is accompanied by illustrations from the sketchbook that Durer kept at the same time, and reproductions of some of the many drawings and paintings that he made during the journey. An introduction by the great early 20th century critic Roger Fry places Durer's journal in the context of his art and times, as well as being a fascinating document of the revival of interest in Durer.