By Christopher S. Wood
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Within the early 16th century, Albrecht Altdorfer promoted panorama from its conventional function as history to its new position because the point of interest of an image. His work, drawings, and etchings seemed virtually without notice and mysteriously disappeared from view simply as unexpectedly. In Albrecht Altdorfer and the Origins of panorama, Christopher S.
We're surrounded with photos: from the cipher-like portrait of a president on a financial institution word to safeguard move images; from photos of politicians within the media to fb; from galleries showing Titian or Leonardo to modern paintings deploying the self-image, as with Jeff Koons or Cindy Sherman. In antiquity portraiture used to be of significant value within the workout of strength.
Extra info for Albrecht Altdorfer and the Origins of Landscape: Revised and Expanded Second Edition
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.
The present study is aimed directly at this gap between the physical world and its image, between place and picture. Altdorfer did not ground his landscapes in any fresh scrutiny of natural data. Instead, he worked from the frame inward. His landscapes began with strong gestures of style – flamboyant strokes of the pen, ostentatious inflammations of colour, extravagances of scale. This interpretation of the pictures will in turn begin with an historical account and localization of these gestures.
They sound like disingenuous apologies for a rhetorical topos (the ekphrasis tou topou, or description of place) or a literary form (the cosmog raphical treatise) that, in fact, required no apology. They reflect either a general Antonio Pisanello, portrait medal of Don Iñigo d’Avalos, verso with ‘world map’, c. . British Museum, London. Dutch master, Tomb of Darius, miniature from a manuscript Historie des Bijbels, Utrecht, . Bibliothèque Royale, Brussels. The acknowledgement of a common purpose with textual culture helped legitimate the new Netherlandish landscapes of the s and s.
Albrecht Altdorfer and the Origins of Landscape: Revised and Expanded Second Edition by Christopher S. Wood