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14 de oct. de 2023 · Introduction. The Passion of Christ is part of a series of paintings produced by Albrecht Altdorfer for the Sebastian altar of the Augustinian Canons St Florian in Linz. They all follow the same Christian themes, and also have a consistent palette, with dominant tones of yellow and red, as well as a large use of figurative art which covers the ...
24 de jul. de 2013 · Christ On The Cross Between Mary And St John, 1512 . Nativity, 1513 . The Entombment, 1516 . Communion Of The Apostles, 1516-18 . Landscape With Path, 1518 . The Flagellation Of Christ, 1518 . Christ On The Cross, 1520 . Christ Taking Leave Of His Mother, 1520 . Danubian Landscape, 1520-25 . Mary With The Child, 1520-25 . Portrait Of A Woman, 1522
Albrecht Altdorfer was a German painter, engraver and architect of the Renaissance working in Regensburg, Bavaria. Along with Lucas Cranach the Elder and Wolf Huber he is regarded to be the main representative of the Danube School setting biblical and historical subjects against landscape backgrounds of expressive colours.
20 de abr. de 2019 · Poortvliet really captures the unimaginable depth of sorrow experienced by Christ, the existential anguish that you and I can’t even fathom. And he bore it all for us. “What Our Lord Saw from the Cross” (1886-1894), by James Tissot (1836-1902).
The Fall and Redemption of Man: Christ on the Cross | Albrecht Altdorfer Imprimé avec souci du détail sur une véritable toile de peintre support@meisterdrucke.com · 0043 4257 29415
The Resurrection of Christ. Altdorfer became a citizen of Regensburg in 1505; later he owned two townhouses and had his own vineyards. He became a member of Regensburg’s inner council in 1526 and finally its officiaI architect. Little is known, however, about the painter’s early artistic career up to the point (1512/13) when he – along ...
In the late 1400s, Saint Jerome grew to have yet another symbol-a dead tree stump. In Albrecht Dürer's woodcut (P.231), it rests in the left foreground; in Albrecht Altdorfer's, the stump anchors the base of Jerome's crucifix. In these contexts, the stump represents the wood of the Cross, and its proximity to the saint implies mortal transience and spiritual salvation through Christ's sacrifice.
