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Albrecht Dürer: Malsamoj inter versioj

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Inter 1507 kaj 1511 Durero laboris por kelkaj el siaj plej famaj pentraĵoj: ''[[Adamo kaj Evo (Durero)|Adamo kaj Evo]]'' (1507), ''[[La martirigo de dek miloj (Durero)|La martirigo de dek miloj]]'' (1508, por Frederiko de Saksio), ''Virgulino de iriso'' (1508), la altarero ''La ĉieliro de la Virgulino'' (1509, por Jacob Heller de Frankfurto), kaj ''[[Adorado de Triunuo]]'' (1511, por Matthaeus Landauer). Dum tiu periodo ankaŭ li finkompletigis du seriojn de lignogravuraĵoj, nome ''Granda Pasio'' kaj la ''Vivo de la Virgulino'', ambaŭ publikigitaj en 1511 kun la dua eldono de la serio de ''Apokalipso''. La post-veneciaj lignogravuraĵoj montras la disvolvigon fare de Durero de la modelaj efikoj de ''[[chiaroscuro]]'',<ref>Panofsky, 135</ref> kreante mez-tonon pere de presaĵo per kiu lumoj kaj ombroj estu kontrastataj.
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Other works from this period include the thirty-seven woodcut subjects of the ''Little Passion'', published first in 1511, and a set of fifteen small engravings on the same theme in 1512. Indeed, complaining that painting did not make enough money to justify the time spent when compared to his prints, he produced no paintings from 1513 to 1516. However, in 1513 and 1514 Dürer created his three most famous [[engraving]]s: ''[[Knight, Death, and the Devil]]'' (1513, probably based on [[Desiderius Erasmus|Erasmus]]'s treatise ''[[Enchiridion militis Christiani]]''), ''[[St. Jerome in His Study (Dürer)|St. Jerome in his Study]]'', and the much-debated ''[[Melencolia&nbsp;I]]'' (both 1514, the year Dürer's mother died). Further outstanding pen and ink drawings of Dürer's period of art work of 1513 were drafts for his friend [[Willibald Pirckheimer]]. These drafts were later used to design the famous chandeliers [[lusterweibchen]].
 
Aliaj verkoj el tiu periodo estas la 37 lignogravuraĵoj de la ''Malgranda Pasio'', publikigitaj unue en 1511, kaj serio de 15 malgrandaj gravuraĵoj samtemaj en 1512. Plendinte ke pentraĵoj ne enspezigas sufiĉe da mono por justigi la tempon dediĉitan kompare al liaj presaĵoj, li ne produktis pentraĵojn el 1513 ĝis 1516. Tamen, en 1513 kaj 1514 Durero kreis siajn tri plej famajn [[gravuraĵo]]jn: nome ''[[Kavaliro, Morto kaj Diablo]]'' (1513, probable bazita sur la traktaĵo de [[Desiderius Erasmus|Erasmus]] nome ''Enchiridion militis Christiani''), ''[[Sankta Hieronimo en sia studejo]]'', kaj la tre analizita ''Melankolio 1a'' (ambaŭ de 1514, la jaro kiam mortis la patrino de Durero). Pliaj elstaraj desegnoj per krajono kaj inko de Durero de 1513 estis desegnoj por lia amiko [[Willibald Pirckheimer]]. Tiuj desegnoj estis poste uzitaj por dezajni famajn [[lustro]]jn ''lusterweibchen''.
In 1515, he created his ''[[Dürer's Rhinoceros|woodcut of a Rhinoceros]]'' which had arrived in [[Lisbon]] from a written description and sketch by another artist, without ever seeing the animal himself. An image of the [[Indian rhinoceros]], the image has such force that it remains one of his best-known and was still used in some German school science text-books as late as last century.<ref name="Bartrum"/> In the years leading to 1520 he produced a wide range of works, including the woodblocks for the first western printed star charts in 1515<ref>[http://www.ianridpath.com/startales/durer.htm Dürer's hemispheres of 1515—the first European printed star charts]</ref> and portraits in [[tempera]] on [[linen]] in 1516. His only experiments with [[etching]] came in this period, producing five 1515–1516 and a sixth 1518; a technique he may have abandoned as unsuited to his aesthetic of methodical, classical form.<ref>Cohen, Brian D. [http://artinprint.org/article/freedom-and-resistance-in-the-act-of-engraving-or-why-durer-gave-up-on-etching/ "Freedom and Resistance in the Act of Engraving (or, Why Dürer Gave up on Etching),"] ''Art in Print'' Vol. 7 No. 3 (September–October 2017).</ref>▼
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▲InEn 1515, heli createdkreis hissian ''[[Dürer's Rhinoceros|woodcut of a Rhinoceros]]'' which had arrived in [[Lisbon]] from a written description and sketch by another artist, without ever seeing the animal himself. An image of the [[Indian rhinoceros]], the image has such force that it remains one of his best-known and was still used in some German school science text-books as late as last century.<ref name="Bartrum"/> In the years leading to 1520 he produced a wide range of works, including the woodblocks for the first western printed star charts in 1515<ref>[http://www.ianridpath.com/startales/durer.htm Dürer's hemispheres of 1515—the first European printed star charts]</ref> and portraits in [[tempera]] on [[linen]] in 1516. His only experiments with [[etching]] came in this period, producing five 1515–1516 and a sixth 1518; a technique he may have abandoned as unsuited to his aesthetic of methodical, classical form.<ref>Cohen, Brian D. [http://artinprint.org/article/freedom-and-resistance-in-the-act-of-engraving-or-why-durer-gave-up-on-etching/ "Freedom and Resistance in the Act of Engraving (or, Why Dürer Gave up on Etching),"] ''Art in Print'' Vol. 7 No. 3 (September–October 2017).</ref>
 
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