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  • Uno stagno nel bosco
  • Pond in the woods
  • Pond in the woods
Uno stagno nel bosco

Pond in the woods

The original work is dated 1495 and is kept at the British Museum in London, Great Britain. Considered the greatest exponent of German Renaissance painting, Albrecht Dürer is a great traveller, able to connect the north and south of Europe; In the foreground this painting represents a pond, as suggested by the title of the work. The artist beautifully reproduces the play of colours and changes in tone as the light changes.
€167.00
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P-213

Data sheet

Dimensions
cm. 80x100
1 - Characteristics and Properties
Fir wood frame with rounded edges of cm. 3.0 thickness
2 - Characteristics and Properties
Ready to hang
3 - Characteristics and Properties
Edges are finished on the sides
4 - Characteristics and Properties
Water and UV resistant canvas
Remarks
Imported product
The original work is dated 1495 and is kept at the British Museum in London, Great Britain. Considered the greatest exponent of German Renaissance painting, Albrecht Dürer is a great traveller, able to connect the north and south of Europe; he contributes to making Nordic art and culture modern by including elements from Flemish and Italian painting into his art. During his travels in Italy Dürer performs splendid watercolours of alpine landscapes, and it is the landscapes that attract his attention throughout his career. In the foreground this painting represents a pond, as suggested by the title of the work. The basin of water appears black-blue, with a chromatic correspondence with the dark clouds, among which the sunlight that sets shines in tones of yellow and orange and it colours the plants on the edge of the pond in a bright green. The artist beautifully reproduces the play of colours and changes in tone as the light changes. Dürer's nature is never idealized: the landscape becomes the protagonist because it has a soul. We can define the artist as "the first Caravaggio": Dürer looks at reality as it is, and to describe it he relies on his own eyes. In his works he identifies himself with the traveller and leaves us a memory of what he has seen, almost a travel-note that goes far away from idealization.

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