The German painter Albert Dürer (1471 – 1528) is one of the most fascinating painters of the entire Renaissance period. And that was not Italian, cradle of the greatest creators of that time. In fact, he brings together in a single person the pictorial tradition of northern Europe, specifically Germany, with the new humanist spirit of Italian painting, which he discovered traveling toVenice. In short, Dürer's work is at the height of the transalpine masters, both for its quality and for its variety.
View of Dürer's Arch
Within the production of the artist fromNurembergthere are many portraits, and especially self-portraits, as well as religious, historical and mythological painting, and even landscapes such as the view of the city of the. And we have also received works made with different techniques and materials, both in the format of painting and engraving or illustration.
One more exponent of that variety is this landscape, the View of the Arch captured in watercolor on paper. A creation that he made in 1495 and that is currently a small jewel (22 x 22 cm) kept by theLouvre Museum in Paris
As on so many occasions, Dürer once again shows us his passion for representing natural forms, something that causes historians to associate him withLeonardo da Vinci. Especially for the vocation almostscience that he shows in his most naturalistic drawings, such as the woodcut of the rhinoceros.
The truth is that this Arch View was made precisely during his return to his country after visitingItaly. A return trip in which he took the opportunity to paint several watercolors with landscapes such as theView of Innsbruckor theRock of Trent
In this case it focuses on an alpine town, north of Lake Garda, in the Italian territory itself. Its sole objective is to represent the fortified population and the place where it is located. He does not stop at setting the scene with atmospheric effects or lighting effects. He is not interested in any of that in this type of watercolours. What he seeks is to portray the population, the mountain where it sits and the nature that surrounds it.
In a certain way it is a revolutionary work. A pure landscape, made in a naturalistic and free way at the same time. With the mastery of the painter who is able to give the view a touch of monumentality, despite not forgetting the small size of the work.
As we have said above, it is a jewel, a true delight. But the reality is that Dürer himself did not consider it that way. For him it was nothing more than an exercise and a kind of workshop material for future paintings.