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Altdorfer's landscapes offer a densely textured interpretation of that quintessentially German place, the forest interior. As Wood explains, however, these scenes far from doctrinally innocent: the forest that Altdorfer painted, drew, and etched is both a refuge from Christian rites and a mythical setting of idolatry. In producing his landscapes, Altdorfer flaunted and exaggerated the formal principles of a regional pictorial tradition. Wood demonstrates that the abrasive surface effects, incessant ornamental movement, and structural impenetrability of these pictures make them the incunabula of a self-resistance to literal readings, Altdorfer's landscapes also resemble the exactly contemporary pastorals and allegories of Giovanni Bellini, Lorenzo Lotto, and Giorgione. Because of Altdorfer's influence on the next generation of German and Netherlandish artists, his work forms a crucial link between Northern religious imagery and the modern development of landscape of a genre.
In the early sixteenth century, Albrecht Altdorfer promoted landscape from its traditional role as background to its new place as the focal point of a picture. His paintings, drawings, and etchings appeared almost without warning and mysteriously disappeared from view just as suddenly. In Albrecht Altdorfer and the Origins of Landscape, Christopher S. Wood shows how Altdorfer transformed what had been the mere setting for sacred and historical figures into a principal venue for stylish draftsmanship and idiosyncratic painterly effects. At the same time, his landscapes offered a densely textured interpretation of that quintessentially German locus—the forest interior. This revised and expanded second edition contains a new introduction, revised bibliography, and fifteen additional illustrations.
From rolling meadows to moody skies, how does the beauty, complexity, and dimensions of the world translate to artistic expression? Explore the evolution and importance of the landscape genre from the late Middle Ages to modern times in this selection of some of the most important landscapes in history from practitioners as diverse as Titian, ..
Credulity -- Reference by artifact -- Germany and "Renaissance"--Forgery -- Replica -- Fiction -- Re-enactment.
An authoritative history of art history from its medieval origins to its modern predicaments In this wide-ranging and authoritative book, the first of its kind in English, Christopher Wood tracks the evolution of the historical study of art from the late middle ages through the rise of the modern scholarly discipline of art history. Synthesizing and assessing a vast array of writings, episodes, and personalities, this original account of the development of art-historical thinking will appeal to readers both inside and outside the discipline. The book shows that the pioneering chroniclers of the Italian Renaissance—Lorenzo Ghiberti and Giorgio Vasari—measured every epoch against fixed standards of quality. Only in the Romantic era did art historians discover the virtues of medieval art, anticipating the relativism of the later nineteenth century, when art history learned to admire the art of all societies and to value every work as an index of its times. The major art historians of the modern era, however—Jacob Burckhardt, Aby Warburg, Heinrich Wölfflin, Erwin Panofsky, Meyer Schapiro, and Ernst Gombrich—struggled to adapt their work to the rupture of artistic modernism, leading to the current predicaments of the discipline. Combining erudition with clarity, this book makes a landmark contribution to the understanding of art history.
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