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Albrecht Altdorfer Landscape with a Footbridge oil painting


Landscape with a Footbridge
Painting ID::  88101
Albrecht Altdorfer
Landscape with a Footbridge
c. 1516 Medium oil on vellum on wood cyf

   
   
     

Albrecht Altdorfer Battle of Alexander at Issus oil painting


Battle of Alexander at Issus
Painting ID::  94753
Albrecht Altdorfer
Battle of Alexander at Issus
1529 Type oil painting on panel Dimensions 158.4 cm x 120.3 cm cyf

   
   
     

Albrecht Altdorfer Bussender Hl Hieronymus oil painting


Bussender Hl Hieronymus
Painting ID::  96454
Albrecht Altdorfer
Bussender Hl Hieronymus
1507(1507) Medium oil on panel Dimensions 23.5 X 20.4 cm cyf

   
   
     

Albrecht Altdorfer Battle of Issus oil painting


Battle of Issus
Painting ID::  96493
Albrecht Altdorfer
Battle of Issus
1529(1529) Medium oil on canvas cyf

   
   
     

Albrecht Altdorfer Battle of Issus oil painting


Battle of Issus
Painting ID::  96753
Albrecht Altdorfer
Battle of Issus
1529(1529) Medium oil on panel Dimensions 158 X 120 cm cyf

   
   
     

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     Albrecht Altdorfer
     German 1480-1538 Albrecht Altdorfer Galleries He most often painted religious scenes, but is mainly famous as the first frequent painter of pure landscape, and also compositions dominated by their landscape. Taking and developing the landscape style of Lucas Cranach the Elder, he shows the hilly landscape of the Danube valley with thick forests of drooping and crumbling firs and larches hung with moss, and often dramatic colouring from a rising or setting sun. His Landscape with footbridge (National Gallery, London) of 1518-20 is claimed to be the first pure landscape in oil. He also made many fine finished drawings, mostly landscapes, in pen and watercolour. His best religious scenes are intense, sometimes verging on the expressionistic, and often depict moments of intimacy between Christ and his mother, or others. His most famous religious artwork is the The Legend of St. Sebastian and the Passion of Christ that decorated the altar in the St. Florian monastery in Linz, Austria. He often distorts perspective to subtle effect. His donor figures are often painted completely out of scale with the main scene, as in paintings of the previous centuries. He also painted some portraits; overall his painted oeuvre was not large.

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