By Christopher S. Wood
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Extra info for Albrecht Altdorfer and the Origins of Landscape: Revised and Expanded Second Edition
The pretext of these long-lost frescoes was didactic, but the treatment, according to Schedel’s ekphrases, was highly pictorial. All these scenes retained some narrative or allegorical dimension. They described social types from opposite ends of the spectrum of wealth and elegance, and they described human activities, both work and leisure. Good painters did not disdain the decorative landscape. Vasari described the loggia that the Perugian Bernardino Pinturicchio painted for Pope Innocent in the s as tutti di paesi .
Stadtmuseum, Regensburg. There was indeed plenty of interest in such a cosmology in Altdorfer’s time. Versions of pantheism, with ties to pagan cults, neo-Platonism and the occult, simmered in the writings of natural philosophers like Paracelsus, literary humanists like Conrad Celtis, and even radical Protestants. Altdorfer’s landscapes have thus been understood as the belated epiphanies of a lost unified consciousness, talismans charged with authentic prelapsarian energy, perhaps demonic, perhaps simply pious and popular, or völkisch.
In the left panel David depicted a cottage and an ass, in the right panel two oxen drinking at a pond. No one has been able to explain these landscapes. If this is Paradise, where is the first couple? Perhaps the wings represent the resting place of the Holy Family on the Flight into Egypt, the episode that immediately preceded the Nativity. . Rijksmuseum, Amsterdam, on loan to the Mauritshuis, The Hague. liked the effect of an empty, leafy space waiting at the end of an arched, sun-dappled, forest-like nave, as if he were inviting a beholder to enter a numinous grove.