拍品专文
This scene is constructed precisely according to the laws of one point perspective, the orthogonals converging at the left just above Mary's head. In spite of this focus, a fine balance is set between the left and the bright area at the right of the composition, framed by the archway.
Drer's interest in the rendering of detail is evident in the meticulous depiction of the various textures, the crumbling wall, the thatched roof, the timbering etc. The setting is romantic in style, and as Panofsky says, 'the picturesque symbolism of the fifteenth century is now controlled by the scientific rationalism of the Renaissance. It is not only impeccable from the point of view of projective geometry, but also achieves perfect unity of space as an aesthetic experience.'
Fascinated by perspective all his life, Drer published the results of his studies in 1525 in his treatise on descriptive geometry.
Drer's interest in the rendering of detail is evident in the meticulous depiction of the various textures, the crumbling wall, the thatched roof, the timbering etc. The setting is romantic in style, and as Panofsky says, 'the picturesque symbolism of the fifteenth century is now controlled by the scientific rationalism of the Renaissance. It is not only impeccable from the point of view of projective geometry, but also achieves perfect unity of space as an aesthetic experience.'
Fascinated by perspective all his life, Drer published the results of his studies in 1525 in his treatise on descriptive geometry.