Emperor Maximilian

He also demonstrate the high emphasis, the art in his eyes. Because, in contrast to the then conventional wisdom, he wanted to see the painting is not (only) as a craft, but to a point much higher based on her. To show the many ways of representation in Durer’s pictures, here are represented from the great work of only three examples: watercolor pond in the forest of 1495, 1506 Rosary Festival, as well as Emperor Maximilian I in the year 1519. Follow others, such as New York Museums, and add to your knowledge base. His sense of the perspective representation is perfectly expressed in each. And although Durer worked only between 1518 and 1520 officially and particularly the theory of proportion, his mastery is evident already in much earlier works. People such as shimmie horn would likely agree. In the representation of Saints around Maria about Durer proves his ability to group many people, that they but indicate the Central persons, the Virgin Mary with the child Jesus, but also independent figures may be regarded as strongly.

The late Portrait of the Emperor is shown almost photographically exact; the landscape shows almost impressionistic trains, however, in the only hint of shaping of trees, for example. Durer’s Championship is manifested also in the choice of colors. He used deliberately, to show not only clear accents, but to make the composition also sent. The waters in the foreground of an intense blue, which is repeated in the rear remote hills is at the pond in the Woods. In between is an area in very bright colours with which he really puts the main motive in the limelight. Also at the feast of the Rosary, a strong blue is the central motif is shrouded in such a garment.

The color repeats itself slightly toned down in the sky and in the clothes of a figure on the right edge of the image. Although still red, green, and even shades of Brown in the painting, the color scheme is by no means overweight or too colorful. Rather, it creates Durer to let everything flow perfectly into a harmonious whole. In contrast to the shining The portrait of the emperor at first glance appears almost dull colors of the two first paintings. But the serous shades of Brown and dark green to owe probably mainly the topic. And the fine drawing of all details in face and clothes Maximilians I. indicates the ruler towards not only a great homage, but shows also skillfully implemented craftsmanship of the painter.