Individual Artists

Albrecht Duerer by R. Kopfenberg

Posted On March 23, 2017 at 3:04 pm by / Comments Off on Albrecht Duerer by R. Kopfenberg

By R. Kopfenberg

Таинственный и гениальныйнемецкий творец, чьи интересыне ограничивались только живописью или гравюрой. Альбрехт Дюрер был настоящим пророком германского Возрождения. Его кисть создавала портреты императоров и сочувствовала нищим крестьянам. Он создавал пушки и учил ландскнехтов, как правильно разрушать замки и крепости. И в то же время он вырезал на гравировальных досках изумительную серию офортов, проклинавших ужасы войны и всех гибельных для человечества напастей. Альбом с репродукциями великого Дюрера.

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He soon hired two more Hampton graduates: Joseph Mack, a painter, and Carroll Simms, a sculptor and potter. Hazel Biggers had graduated from Hampton with a degree in business and quickly found a position in the business office. The couple located a small two-room apartment of their own not too far from campus. The name of the institution was changed to Texas Southern University in 1951. B U ILDING IN HOU STON AND TE X A S SOUTHE RN U NIVE RS IT Y, 1949 –1957 33 figure 17 Joe Mack, Viktor Lowenfeld, John Biggers, Texas Southern University 1951 It was not an easy beginning for the young couple who were new to Houston ways.

Day of Plenty (1948–1949) was intended to show the power of people who have learned, through education, to work together for the common good. The drawing also reflected John Biggers’s discovery of Diego Rivera, whose work he admired greatly. “Here I am, at cold, wintry Penn State, working in the style of a Mexican painter. ”31 Those drawings reflect his passionate commitment to art expression as a response to the life he had known and cared about. The rituals of birth, life and death, regeneration, and hope had been at the core of his understanding of life.

So Biggers would join his students in class or in the kitchen when Hazel was cooking supper. While guiding a visitor through his 1995 retrospective exhibition at the Museum of Fine Arts, Houston, he gestured towards several early drawings: The first two drawings I made in Houston were those two: The Cradle and Sleeping Boy. The reason they are so important to me is that I don’t think I’ve ever beat them. 6 The Cradle (fig. 19, and also featured on the jacket to this book) was entered into the annual 1950 Houston Artists Exhibition sponsored by the Museum of Fine Arts of Houston.

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