By Christopher S. Wood
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Additional info for Albrecht Altdorfer and the Origins of Landscape: Revised and Expanded Second Edition
Example text
Such interpretations dismiss the reunification with nature proposed by landscape painting as an aesthetic fiction. Art, in other words, should not deceive us into thinking we are actually making contact with nature; in pictures the culture merely constructs a nature. But materialist art history is often tinged with its own nostalgia, not for the pre-modern and pre-technological art of nature, but for a pre-bourgeois life of nature. Matthias Eberle, for example, following Schiller, Marx and Adorno, sees the Renaissance landscape as the expression of an urban or bourgeois consciousness of a new distance and detachment from the land.
For its dense, feathery trees, the Maiden’s Dream (illus. ) of c. tapped German prints, or perhaps even paintings. The woman’s pose repeats figures by Dürer or the German–Italian engraver and painter Jacopo de’ Barbari. Still other works celebrated secular pleasures by staging fictional concerts or love-making in the locus amoenus, for example the famous Concert in the Louvre, or the Edinburgh Three Ages of Man by Giorgione’s prodigious pupil, Titian. Although the Venetian pictures never quite expelled the human figure, they exhibited an unprecedented defiance or indifference toward the ordinary functions of painting.
Casting that contribution as a somatic gesture rather than as an intellectual design does not simplify matters. It is style that makes Altdorfer’s landscapes so distinctive in tone and texture, so different from anything else around them, and indeed so different from one another. Most contextual interpretations – sociological, for example, or intellectual-historical – have quickly run up against their own limits. This book will instead direct questions from within the history of German painting, and particularly from within Altdorfer’s career.