Download Albrecht Altdorfer and the Origins of Landscape by Christopher S. Wood PDF

By Christopher S. Wood

The 1st self sufficient or ‘pure’ landscapes in Western artwork have been produced in southern Germany within the first a long time of the 16th century. They have been painted, drawn and etched by way of Albrecht Altdorfer of Regensburg and his purely a bit of much less flamboyant modern Wolf Huber of Passau. those radical experiments in panorama seemed with out develop become aware of and disappeared from view virtually as suddenly.

Altdorfer switched over outside settings right into a theatre for classy draughtsmanship and indulgent color results. even as, his landscapes provided a densely textured interpretation of that quintessentially German locus, the wooded area inside. during this revealing research Christopher S. wooden indicates how Altdorfer prised panorama out of its subsidiary function as environment and historical past for narrative historical past portray and devotional works, and gave it a brand new, self sufficient lifetime of its personal.

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Extra info for Albrecht Altdorfer and the Origins of Landscape

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Framed with red bands and captioned in the margins by Schedel himself, the miniature portrays Mounts Horeb and Sinai in the Holy Land (illus.  Otto Pächt called attention to a remarkable miniature landscape illustrating a topographical text produced in Bruges c.  (illus.  The scene is nothing more than a vignette of ideal rural existence, complete with a cripple, a mounted knight, windmills and watermills, and a very thin, gabled building, all laid out along trim orthogonals. Detail does not imply specificity: the scene is no portrait of a real place, but is in fact an adaptation of a landscape setting from an earlier narrative illustration.

But Bryson overstated his grievance. It is true that art-historical scholarship has been excessively enthralled to the theologians and the rhetoricians. The paintings themselves, on the other hand, are not such assiduous propagandizers against the deictic interpretation. Nor has the best writing on Northern art been negligent. The ambitious German Renaissance artist deliberately packed his pictures with deictic markers. And no theorist was exhorting Altdorfer to abolish the material picture surface.

For its dense, feathery trees, the Maiden’s Dream (illus. ) of c.  tapped German prints, or perhaps even paintings. The woman’s pose repeats figures by Dürer or the German–Italian engraver and painter Jacopo de’ Barbari. Still other works celebrated secular pleasures by staging fictional concerts or love-making in the locus amoenus, for example the famous Concert in the Louvre, or the Edinburgh Three Ages of Man by Giorgione’s prodigious pupil, Titian. Although the Venetian pictures never quite expelled the human figure, they exhibited an unprecedented defiance or indifference toward the ordinary functions of painting.

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