Landscape with a bridge - Albrecht Altdorfer. 41.2 x 35.5 cm
Albrecht Altdorfer is rightly considered an outstanding Renaissance painter. Researchers call Durer, Pacher, Cranach. However, inspired by the achievements of others, Altdorfer was able to invent his own style and, above all, this concerns the landscape (even in works on a religious or mythological plot, the master gave the first place to the landscape).
The presented work is entirely devoted to the landscape theme. Immediately we note an unusual angle - the viewer seems to be looking from the bottom up, moving away from the main object a few steps. This most important element of the picture is the bridge that connects the coast and the stone structure. The author leaves no clue that would help determine what kind of rear, but we can assume that we have before us a part of the castle or temple, built in the Romanesque style (thick walls, narrow small windows).
The nature of the painter, as usual, is stately and very colorful. Mighty thick-stemmed trees, steep yellowish cliffs covering their thickets of shrubs and wild grass - the author loved most of all just such a nature, which is in some desolation, not touched by a human hand.
You can correctly guess Altdorfer through the sky - a blue-blue clear surface, without a cloud, with only small gradual neat transitions (from saturated blue to sparkling white). In the background you can see the valley. A mountain can be seen there, with a whimsical winding line there is a thin rivulet extending to the horizon.
The color of the painter is diverse. Altdorfer was not shy in choosing colors, sometimes resorting to contrasting combinations, to the detriment of realism. That is why the master’s paintings look very bright, especially in reproductions. The original is much more modest in color saturation. Some researchers believe that in the original version of "Landscape with a Bridge" had just such a catchy flavor, but over time (five thousand years !!!), the colors faded.
Altdorfer is also distinguished by the detail of his landscapes. How precisely the leaves, blades of grass, branches are traced here. In the foreground, we see a shrub whose leaves are not only carefully written out, but also not evenly colored, as if the sun falls on only one part of the bush. This is a very subtle and interesting point. Especially for the 16th century.
Having completed the work, the author did not forget to leave his monogram, the “design” of which was borrowed from Dürer. It can be seen in the upper right corner of the picture.