Italian Style Architecture Illustration - Whose is this picture?

Design Italian artist ANDREAMININI's illustration art!

Born in 1979, Andrea Minini is an Italian illustrator and graphic designer who graduated in design at the Politecnico di Milano in 2004. He has been featured in many blogs, magazines, books and art exhibitions.

The superimposition of lines and the arrangement of thick and thin outlines the iconic features of the objects, these illustrations may seem simple, but each stroke has its own unique charm.

Aliyev Cultural Center C Zaha Hadid

*Milo Bridge C Norman Foster*

The Bird's Nest C Herzog & de Meuron

Sydney Opera House - Jon Woo Shige

Russian Dominion Office Building C Zaha Hadid

Pyramid of the Louvre C I.M. Pei

Sands Singapore C Safdie

Guggenheim Museum Bilbao C Frank Gehry

Dubai Towers

Marie Gebao Cultural Center C Renzo Piano

Running Waters Cottage C Frank Lloyd Wright

Guggenheim Museum, New York C Frank Lloyd Wright

In addition to the architecture, Andrea Minini also illustrated animals, each one perfectly characterized by its form.

Do you see the charm of AndreaMinini's illustrations?

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Whose painting is this?

Dürer's.

I. Biography

Albrecht Dürer (AlbrechtDurer, 1471-1528), German painter, printmaker and woodblock designer. When he was a teenager, he followed his father to learn art, he showed special talent for painting, at the age of 13, he could draw his own portrait realistically, and at the age of 19, he drew a portrait for his father, which fully demonstrated his mature sketching skills, which can be compared with Da Vinci. He then worked for three years with the painter Michaaeel Wolgemut. Wolgemut's large workshop also produced woodcut illustrations for Dürer's godfather, the printer and publisher Anton Koberger. At the time, this largest workshop had a strong influence on Dürer, who was first introduced to copper techniques as a child, an enduring impression that was to play a decisive role in his later creative endeavors in the art of printmaking. After the completion of the division, the young painter out of the studio along the Rhine River tour of Germany's major industrial cities, to Frankfurt, visited Cologne and Basseterre. 4 years of travel and study visits to the painter's world view of the formation of the art of the development of a decisive role. 23-year-old Dürer is already an influential artist, in the year, he and his hometown, a musician's daughter, Agressa Fuchs Huanghuangyi married, and since then, Dürer as a jewelry maker and a musician's daughter, the artist is the most important artist in the world. Dürer began to work independently as a jeweler and painter.

In 1485, on the eve of the reform of German education under the influence of humanism, Dürer entered a public elementary school in Nuremberg. In keeping with his family's tradition, his father apprenticed his son to his own workshop in order to train him as a jeweler. Dürer was first trained in drawing in the workshop, and soon became proficient in it, which became the basis for his artistic activities. Dürer further began to copy artists' figure drawings in order to learn the decorative arts necessary for jewelry craftsmanship, and also copied Martin Sonnenkuhl's engravings, etc., which created the conditions for him to want to be an artist. At the age of thirteen, Dürer engraved his first self-portrait with a silver pin, on which he wrote: "In 1484, when I was still a child, I looked in the mirror and drew myself." His pen drawing of the following year, "Virgin Mary and Angels on the Throne," one of the second earliest works, has been preserved to this day.

In the course of his studies, Dürer became so interested in the structure of the figure and the rules of drawing that he asked his father to allow him to become a painter. His father complied with his son's wishes and sent him to the studio of the painter Michael Valgemert near Nuremberg, where he was apprenticed for three years. Dürer copied his teacher's works and gradually learned a variety of painting techniques. He began to study nature, the human body, and plants, and began to experiment with composition. At the same time, he carefully studied the mixing and use of colors, so that by the end of his apprenticeship, he was able to create works in accordance with the laws of art. At the age of twenty-three, Dürer, after starting a family, formally established a studio not far from his home and began to paint portraits.

Later, Dürer completed his first remarkable masterpiece, the woodcut grouping of the Book of Revelation. This book of Revelation originated from the mystical fantasies of the old Christianity of the Nero dynasty of the Roman Empire. He made a group of fifteen monumental works, which expressed the helpless horror and disappointment of mankind at the end of the fifteenth century, due to the arrival of the end of the world. At a time when Germany was in the midst of struggles between the bourgeoisie and the craftsmen, between the peasants and the feudal lords, between hunger and exploitation, the people's agitation culminated in countless religious, political and revolutionary mass movements. Dürer wanted to give allegorical force to the fantasies of the Apocalypse by putting them into realistic images. In several of these paintings, Dürer was not shy about criticizing the ruling powers, and he put his opinion in the hands of the conscience of every human being.

Since the publication of the Apocalypse, Dürer has been honored among the great artists of our time. Frederick invited him to paint a second altarpiece, and in 1498 Dürer, with great vigor and the confidence of a new-found prestige, painted a picture of a man in a sumptuous costume. He painted a self-portrait dressed in a sumptuous costume. (In the Prado Museum in Madrid, on March 19, 1514, two months before his mother's death, Dürer drew a portrait of her, and in this charcoal drawing he created one of the most lively and moving works of his life, which is the only portrait of Dürer's mother that has survived to the present day. When his mother died on May 17, he inscribed the drawing with the words, "This is the mother of Albrecht Dürer, who died at two o'clock on the night of the Tuesday before the Week of Prayer, 1514, in the sixty-third year of her age." It shows his lifelong respect and love for his mother.

From 1490 to 1507, he traveled to Basel, Strasbourg, and Venice, and met Giovanni Bellini, whom he had long admired. He not only strengthened his knowledge of art, but also began to study mathematics, geometry, Latin, classical literature, etc. His contacts with scholars were more frequent and closer than with artists, and in 1512 he became the imperial painter of Emperor Maximilan. He traveled to Antwerp, Brussels, Marien, Corum, Middelburg, Bruges, and Ghent, and was well received. He returned to his hometown in July 1521, and his health deteriorated, but he continued to work until his death.

Dürer was a representative of the Northern Renaissance. Germany was in one of the darkest periods of its history. Confusion of ideas and beliefs, famine and plague (the Black Death) mercilessly claimed the lives of large numbers of people, and social tensions intensified. As a result, German culture and art were weakened and in a state of serious depression. At the same time, the European countries, led by Italy, had come out of the Middle Ages and entered a period of political, economic and cultural openness and prosperity, and the light of humanism had already shone on the European continent. Therefore, as a German artist, Dürer could only pursue and spread the advanced ideas of "modern" Europe in a backward country representing the past.

The boy genius was ready to introduce modern culture to Germany on his own. Only, his curious and doubtful gaze and Christ-like directive finger suggest that, unlike the Italian Renaissance, with its ecstatic view of man and his world, or the Dutch Renaissance, with its obsessive focus on the outside world, the German Renaissance will look at man himself with a slightly bittersweet gaze. And this would make him a paradoxical loner and vanguard.

As a Renaissance man, Dürer believed that the artist must look y into nature and endeavor to discover the secrets of the universe in order to reveal and express beauty. At the same time, however, he clung to his semi-medieval belief that the artist and his art should be an instrument of God. While Michelangelo's statue of David (1501-1504) shows the perfection and renewal of man, Dürer's etching St. Eustace (1501), with the same mastery, represents the martyr's encounter with the miraculous as an earthly paradise. His masterpiece of the period, however, is the slightly earlier woodcut grouping of the Apocalypse, which is more clearly characterized by Gothic didactic miniatures in its content and style of expression.

Like Leonardo da Vinci, Dürer was scientifically minded, and therefore studied mathematics and perspective and wrote a large number of notes and treatises on perspective and human anatomy, creating many paintings reflecting social reality. He also studied architecture and invented a system of architecture. Dürer was also an art theorist, author of "Introduction to Painting" and "Principles of Human Anatomy". He made German art free from the influence and constraints of Gothic art, and moved towards the path of realism guided by humanism. He pushed the infantile art of printmaking to a new stage of perfection. He supported the Reformation and sympathized with the Peasants' War, and took the initiative to illustrate the pamphlets of Martin Luther, the leader of the Reformation, and ended his career with the design of the Peasants' War monument.

His sketches of flora and fauna were as accurate as those left by Leonardo da Vinci, but at the same time he was convinced of the existence of the monsters recorded in the Book of Revelation. So Dürer was not only a painter, but also a mathematician, a mechanic, and an architect who developed the theory of fortification.

He traveled incessantly throughout his life, and at that time he was almost unmatched in terms of the breadth of his travels and the breadth of his horizons, but he always retained some of the ignorance and narrow-mindedness of the peasantry. He believed that reason and knowledge would make man a noble being, but he had a deep sense of human imperfection.

Born in a medieval artisan's house and living in a country where the status of the artist was the lowest, he became the most independent and proud artist in Europe at that time. As the "father of the self-portrait", he was the first painter in Europe to be attracted to his own looks and identity, thus becoming a precursor to Rembrandt. More or less aware that art would make him immortal, he spent his life pursued by the idea that death was approaching, unable to shake off the fear that his body would disappear. In terms of artistic style, although he was a seeker and propagator of Italian Renaissance art, he was embedded in a German tradition that allowed his art to retain somewhat of a medieval Gothic legacy, while at the same time surprisingly pioneering some Baroque traits.

Dürer's works include woodcuts and other prints, paintings, sketches and drawings. Of his works, the prints were the most influential. He was one of the best woodcut and copperplate engravers. His major works include The Apocalypse, The Great Crucifixion of Christ, The Lesser Crucifixion, The Bathroom of Men, The Sea Monster, The Prodigal Son, The Great Destiny, Adam and Eve, The Knight, Death and the Devil, and many others. His watercolor landscapes are one of his greatest achievements, and they are extremely vivid in atmosphere and emotion.

Toward the end of 1523, Dürer began to write his autobiography, which was not only a review of his own life, but also an account of the lives of his parents, his seventeen siblings, and himself. At that time, only one of his brothers was left alive.

In 1525, Dürer's important work, "A Course in the Measure of Art," was published. As a result, he became one of the first art theorists of the Renaissance, and 1526 was the year of Dürer's outstanding portraits, such as Ismus van Rotterdam, which became one of his greatest masterpieces of the human figure.

In 1527, Dürer's second scientific work, Principles of City Building, was published, and in 1928, Principles of Human Anatomy, the culmination of his twenty-seven years of study of human anatomy, was published. Unfortunately, he did not see the great impact of this work. Fifty-seven-year-old Dürer, after returning from the Netherlands, physical weakness, repeatedly for the disease, this brilliant cultural star on April 6, 1528 suddenly fell.

What does Byzantine art consist of?

Byzantine ArtByzantine Art (ByzantineArt), the artistic styles and techniques developed in the Eastern Roman Empire from about the 5th to the mid-15th century. It became the link between classical Greek and Roman art and later Western European art. Byzantine art blended the naturalism of classical art with the abstract decorative qualities of oriental art. There is no clear line of demarcation between early Christian art and Byzantine art. The early beginnings, from 330, when Constantinople became the capital, to about 500, are known as the Pre-Byzantine period. The reign of Justinian I (527-65) ushered in the first golden age of Byzantine art. During a period in the 8th and 9th centuries, a dispute known as the Anti-Iconoclast Controversy opposed iconoclasm, and many paintings and sculptures were destroyed. With the end of anti-idolatry in 843, the depiction of sacred figures was again encouraged. The second golden age of Byzantine art, which lasted from the 9th to the 12th century, introduced realism into imperial court art and mysticism into religious art. The final splendor of Byzantine art occurred during the reign of the Paleolithic dynasty from the 13th to the mid-15th century; it is known as the Byzantine Revival. In the later stages religious art expressed more emotion and naturalism. Stylistic characteristics from the fourth to the fifteenth century centered on Constantinople (i.e., the ancient Greek city of Byzantium), the official art of the Byzantine Empire (i.e., the Eastern Roman Empire) combined with the Christian Church. Its ideological content was the worship of the emperor and the promotion of Christian theology, serving to consolidate the rule of the aristocracy. Its style is characterized by the combination of late Roman art forms and oriental art forms centered in Asia Minor, Syria and Egypt, with strong oriental colors. For example, the central dome-shaped structure of St. Sophia's Church and its splendid interior decoration reflected the authority of the spiritual rule of the unity of church and state. In the establishment and utilization of the Christian iconographic system, the transformation of the old forms to serve the Christian propaganda, and in the creation of styles of church architecture, icon painting, mosaics, frescoes, miniatures and arts and crafts, there were great achievements. Because of the church's strictures. The late Byzantine art style tends to be formulaic and conceptualized. It had a great influence on the art of the medieval European countries, especially the Orthodox countries. 1453 after the Islamic Turks captured Constantinople, the history of Byzantine art has ended, but its form is still utilized by the Orthodox Church. The mature Byzantine style evolved from the stylized and standardized tendencies of the late classical forms of early Christian art; it was based on the dynamics of line and flat color, not on form. The individuality of the figures is suppressed and replaced by standardized facial shapes, the body is flat, and the folds of the clothes are treated as a swirling pattern of lines. The whole picture gives the impression that the soul has transcended the body; the three-dimensional spatial expression of the figure has been replaced by spiritual power, which is expressed through the power of lines and the brightness of colors. The figures are depicted in strictly frontal poses and Byzantine faces, with huge eyes and sharp glances, and against a typical golden background. Such backgrounds, in the case of isolated figures, make the image appear to be suspended somewhere in the space between the wall and the viewer. Carvings were rarely produced in the Byzantine Empire. The most common small ivory reliefs were used for book covers, reliquaries, and the like. Among the upper classes of Constantinople, other small works of art, embroidery, gold and colored glazes were also prevalent. Although the decorative paintings in manuscripts did not achieve the same profound and moving effect as the giant paintings and mosaics, they played an important role in spreading the Byzantine style and icon painting in Europe. Byzantine architecture inherited the architectural skills of Rome. In the early stages there were two forms of churches - rectangular Basilicas and domed churches in the form of Greek crosses. Byzantium was one of the first regions to use triangular vaulted corners to place a dome over a square area. The Church of Hagia Sophia, built in the First Golden Age, is an outstanding example of Byzantine architecture. By the Second Golden Age, almost all churches had a Greek cross-shaped plan. The earliest Byzantine buildings were modeled on the plan of the Italian rectangular churches, with huge domes and vaults. However, there was a structural or visual incongruity between the dome and the columns of walls beneath it. As a result, in the 10th century, buildings in most areas were converted to a radial design, consisting of four identical vaulted arms, intersected by a dome, which extends outward from the center of the arms. This central, radial design is very much in keeping with the cosmology of the Church of the East's hierarchical organization. This cosmology is evident in the iconography, frescoes or mosaics of the churches. They cover the domes, walls and vaults of the churches, fully integrating the expressive language of architecture and painting. This iconography also reflects a liturgy in which the storytelling scenes of the life of Christ and the Virgin are not laid out on the walls in the order of their plot development, as in Western churches, in order to meet the needs of sermonizing and evangelizing, but rather are selected according to the significance of the feast day and placed in accordance with their theological significance. The style of production of these mosaics and frescoes reflects the fact that they are only static symbolic images expressing God and Goddess. Byzantine Art Mosaic Illustration Byzantine craftsmen took the art of mosaic to new heights. Stained glass tubes and gold backgrounds created shimmering effects of light and color. Mosaics decorated the walls and ceilings of churches, glorifying God and kings. Some of the best mosaics of the first golden age are in the Church of San Vitale in Ravenna, Italy. In the second Golden Age the old-fashioned iconography (arrangement of Christian motifs) was formed in church decoration. In the central dome is the Almighty God (Jesus as the Lord of all), in the corner of the dome is the Evangelist, and in the back of the dome is the Virgin. When late Byzantine frescoes replaced the expensive mosaics, this elaborate illustration survived. Illustrated manuscripts often mimic mosaics, as many illustrations have gold or blue backgrounds. The small panels known as icons often place the Virgin and Child in highly decorative formal scenes. Sculpture and Ornament Byzantine Empire produced little monumental sculpture. Some portraits were carved early on, but the main focus was on ivory panels used for altarpieces and for wrapping jewelry boxes and other objects. Silver, jewelry, and silk and linen textiles reflected the grandeur and splendor of the Byzantine court. Byzantine craftsmen utilized cloisonné glazing techniques to the fullest extent.