By Christopher S. Wood

ISBN-10: 178023080X

ISBN-13: 9781780230801

ISBN-10: 1780231156

ISBN-13: 9781780231150

In the early 16th century, Albrecht Altdorfer promoted panorama from its conventional function as historical past to its new position because the point of interest of an image. His work, drawings, and etchings seemed virtually all at once and mysteriously disappeared from view simply as all at once. In Albrecht Altdorfer and the Origins of Landscape, Christopher S. wooden indicates how Altdorfer remodeled what were the mere atmosphere for sacred and old figures right into a imperative venue for classy draftsmanship and idiosyncratic painterly results. even as, his landscapes provided a densely textured interpretation of that quintessentially German locus—the wooded area interior.
This revised and increased moment version includes a new advent, revised bibliography, and fifteen extra illustrations.

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Extra info for Albrecht Altdorfer and the Origins of Landscape: Revised and Expanded Second Edition

Example text

Many readings have been put forward, from Mars and Venus, to Adam and Eve, to Fortitude and Charity; none has prevailed. The figures look as if they might be involved in some drama, and the setting looks as if it might be invested with symbols. But nothing is quite clear; prior iconographic traditions are at once invoked and distorted.  Even landscape, for Settis, is subject-matter. This debate has been hobbled by imprecise terminology. Giorgione’s Tempest is surely not devoid of subject-matter.

The independent image was thus by no means to be taken for granted. The professional painter trying to pursue a career in this stormy climate had to secure his audience, and one way of doing this was to address that audience directly. Style – the heteroclite and unrepeatable mark – fixes the beholder’s attention. The deictic trace implores the beholder to stay within the frame, to resist turning elsewhere for a narrative or a context that will justify the picture. This is essentially what Altdorfer was doing in his own time: authenticating the image with a rhetoric of personality that was only legible within the image.

Venetian brushwork and palette immediately warned beholders either to drop their iconographical antennae, or to keep them raised and savour the vain effort to clear up the muddle. The Florentine Vasari, only two generations later, was stumped by Giorgione’s frescoes on the Fondaco dei Tedeschi, the German merchants’ compound at the Rialto. Giorgione, he complained, had thought only of fashioning fanciful figures and displaying his art. Vasari found the frescoes unreadable. ’ But plenty of amateurs relished indeterminacy.

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Albrecht Altdorfer and the Origins of Landscape: Revised and Expanded Second Edition by Christopher S. Wood

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