Abstract
In the article, the work of A. Altdorfer by request of Maximilian I for the fi rst time has been considered in detail as a separate stage in the development of the artist’s style. The masterpieces created by A. Altdorfer and his workshop by the order of the Emperor in 1512–1516 are analyzed. The article focuses on such art works as the xylograph “The Triumphal Arch” (1515), miniatures and xylograph “Triumphal carriage” (1516–1519) and the illustrations for the «Prayer book» of Maximilian I. The value of this period for reconsideration of problems which solution is essential for creative evolution of the master is revealed. The artist’s special importance attaches to the problem of organizing a large series of images, has already been scheduled in an earlier cycle of xylographs “The fall and salvation of mankind”. This period is discussed in connection with the evolution of A. Altdorfer`s attitude to the ancient tradition, the depiction of space and human body. The infl uence of A. Dürer resulted in a more streamlined system of perspective, without losing interest in the space demonstration by the complex reduction of human fi gures. The original approach to the landscape understanding was formed in the art of Altdorfer during his work for the emperor under the infl uence of court humanists and developed in later works of the master. The landscapes, created by Altdorfer become panoramic; get the scope, the craving for generality, stored in the artist’s work in the future. This image is similar to the poems of K. Celtis, the author played a signifi cant role in establishing the programme of art works, commissioned by the Emperor Maximilian I. At the same time Altdorfer’s original understanding of war as a tragic event was formed and turned out to be principal for his later works.
Keywords
A. Altdorfer, Maximilian I, landscape, «The Triumphal Arch», Prayer Book of Emperor Maximilian I
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