Cover image for Dürer
Title:
Dürer
Author:
Peccatori, Stefano.
Publication Information:
New York : DK Publishing, [1999, c1998]

©1999, ©1998
Physical Description:
143 pages : illustrations (chiefly color) ; 21 cm.
General Note:
Includes indexes.
Language:
English
Personal Subject:
ISBN:
9780789441379
Format :
Book

Available:*

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ND588.D9 A4 1998 Adult Non-Fiction Non-Fiction Area
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ND588.D9 A4 1998 Adult Non-Fiction Non-Fiction Area
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ND588.D9 A4 1998 Adult Non-Fiction Open Shelf
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ND588.D9 A4 1998 Adult Non-Fiction Open Shelf
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ND588.D9 A4 1998 Adult Non-Fiction Biography
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ND588.D9 A4 1998 Adult Non-Fiction Open Shelf
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ND588.D9 A4 1998 Adult Non-Fiction Biography
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ND588.D9 A4 1998 Adult Non-Fiction Open Shelf
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On Order

Summary

Summary

Each volume is a visual resource with over 300 full-color illustrations, telling the story of a single artist with a look at the artist's life, the context in which he worked, and an analysis of his masterpieces.


Author Notes

Albrecht Durer was the commanding figure of the German Renaissance. Born in Nuremburg, the son of a goldsmith, he was apprenticed at age 15 to a painter and printmaker, from whom he learned the precision of detail that is one of the hallmarks of his great art, both in his woodcuts and in his drawings (The Hare is a famous example). As a young man, he traveled widely throughout Germany and also to Italy, where he was profoundly affected by the emerging art of the High Renaissance, of which he became the primary exponent in the North. He settled in Nuremburg, which he left in 1520 on a trip to the Netherlands, the diaries of which are among the most interesting documents in the history of art. Besides being a fine painter, Durer was one of the greatest graphic artists of all time. He left behind more than 350 woodcuts, 100 engravings, and approximately 900 drawings and watercolors. As a humanist artist of his time, he was also deeply concerned with art theory and wrote treatises on measurement, fortification, proportion, and on artistic theory itself.

(Bowker Author Biography)


Reviews 1

Library Journal Review

These three books are part of a series of brief monographs on big-name artists that also includes titles on Rembrandt, Monet, Bosch, da Vinci, Caravaggio, Gauguin, van Gogh, Titian, and C‚zanne. The popularity of the artists, the glitzy format, and the low price will probably guarantee sales. Reading these three installments, however, was more bewildering than enlightening. The publisher states that they are a perfect gift or study companion for art history students and art lovers alike. Yet art history students expect and deserve bibliographies and citations (neither of which are present), and art lovers will probably not appreciate the number of illustrations printed right into the book gutters. The text portions are well written, but editorial negligence in other areas is distracting: inconsistencies, typographical errors, and incorrect headings appear throughout, and illustrations are included in sections where they do not seem to belong. Even the covers have misleading juxtapositions. The Matisse volume features his portrait prominently under his name, but under Goya's name there appears a servant from one of his paintings. And whoever is pictured under Drer's name is a mystery, since he does not look like Drer, but no identification appears anywhere. Some mistakes are glaring; for example, a section headed "Matisse and etching" discusses his lithographs instead. Conversely, Drer's famous woodcut of "The Four Horsemen of the Apocalypse" is noted as one of a series of lithographsÄa process not even invented yet. The layout of the books is overly complex, with snippets of information under small illustrations scattered about in irregularly alternating color-coded sections. Although the colored sidebars suggest a distinction between "Life and Works," "Background," and "Masterpieces," there is often overlap, and some of the illustrations do not fall into whatever date span distractingly heads each page. Every facing two-page spread is concerned with a particular theme. Although these themes are relevant and interesting, when over 50 of them are presented this way in each book, the end result feels superficial rather than thorough. On top of all this, the film layer over the paperback covers peels away from the edges as one reads the books. Not recommended.ÄAnn Marie Lane, Univ. of Wyoming, Laramie (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.