Dürer's influence was wide-spread throughout Germany

Dürer's influence was wide-spread throughout Germany, especially in engraving, of which he was a master. In painting Schäufelin(1490?-1540?) was probably his apprentice, and in his work followed the master so closely that many of his works have been attributed to Dürer. This is true in measure of Hans Baldung (1476?-1552?). Hans von Kulmbach (?-1522) was a painter of more than ordinary importance, brilliant in coloring,cheap oil paintings for sale, a follower of Dürer, who was in clined toward Italian methods, an inclination that afterward developed all through German art. Following Dürer's formulas came a large number of so-called "Little Masters" (from the size of their engraved plates), who were more engravers than painters. Among the more important of those who were painters as well as engravers were Altdorfer(1480?-1538), a rival rather than an imitator of Dürer; Barthel Beham(1502-1540), Sebald Beham (1500-1550), Pencz (1500?-1550), Aldegrever (1502-1558), and Bink (1490?-1569?). modern abstract art oil painting

SWABIAN SCHOOL: This school includes a number of painters who were located at different places, like Colmar and Ulm, and later on it included the Holbeins at Augsburg, who were really the consummation of the school. In the fifteenth century one of the early leaders wasMartin Schöngauer (1446?-1488), at Colmar. He is supposed to have been a pupil of Roger Van der Weyden, of the Flemish school,modern art oil paintings, and is better known by his engravings than his paintings, none of the latter being positively authenticated. He was thoroughly German in his type and treatment, though, perhaps, indebted to the Flemings for his coloring. There was some angularity in his figures and draperies, and a tendency to get nearer nature and further away from the ecclesiastical and ascetic conception in all that he did. where to buy oil paintings

At Ulm a local school came into existence with Zeitblom (fl. 1484-1517), who was probably a pupil of Schüchlin. He had neither Schöngauer's force nor his fancy, but was a simple, straightforward painter of one rather strong type. His drawing was not good, except in the draperies, but he was quite remarkable for the solidity and substance of his painting, considering the age he lived in was given to hard, thin brush-work. Schaffner (fl. 1500-1535) was another Ulm painter, a junior to Zeitblom, of whom little is known, save from a few pictures graceful and free in composition.A recently discovered man, Bernard Strigel (1461?-1528?) seems to have been excellent in portraiture. wholesale oil paintings

FIG. 91.—PILOTY. WISE AND FOOLISH VIRGINS.

At Augsburg there was still another school, which came into prominence in the sixteenth century with Burkmair and the Holbeins. It was only a part of the Swabian school, a concentration of artistic force about Augsburg, which, toward the close of the fifteenth century, had come into competition with Nuremberg, and rather outranked it in splendor. It was at Augsburg that the Renaissance art in Germany showed in more restful composition, less angularity, better modelling and painting, and more sense of the ensemble of a picture. Hans Burkmair(1473-1531) was the founder of the school,dafen oil painting village, a pupil of Schöngauer, later influenced by Dürer, and finally showing the influence of Italian art. He was not, like Dürer, a religious painter, though doing religious subjects. He was more concerned with worldly appearance, of which he had a large knowledge, as may be seen from his illustrations for engraving. As a painter he was a rather fine colorist, indulging in the fantastic of architecture but with good taste, crude in drawing but forceful, and at times giving excellent effects of motion. He was rounder, fuller, calmer in composition than Dürer, but never so strong an artist. oil paintings for sale uk