[{"@context":"http:\/\/schema.org\/","@type":"BlogPosting","@id":"https:\/\/wiki.edu.vn\/all2en\/wiki32\/wendel-dietterlin-wikipedia\/#BlogPosting","mainEntityOfPage":"https:\/\/wiki.edu.vn\/all2en\/wiki32\/wendel-dietterlin-wikipedia\/","headline":"Wendel Dietterlin \u2014 Wikipedia","name":"Wendel Dietterlin \u2014 Wikipedia","description":"before-content-x4 Wendel dietlin , born in Pfullendorf in 1551 and died in Strasbourg in 1599, is a painter, ornamentalist and","datePublished":"2017-11-27","dateModified":"2017-11-27","author":{"@type":"Person","@id":"https:\/\/wiki.edu.vn\/all2en\/wiki32\/author\/lordneo\/#Person","name":"lordneo","url":"https:\/\/wiki.edu.vn\/all2en\/wiki32\/author\/lordneo\/","image":{"@type":"ImageObject","@id":"https:\/\/secure.gravatar.com\/avatar\/44a4cee54c4c053e967fe3e7d054edd4?s=96&d=mm&r=g","url":"https:\/\/secure.gravatar.com\/avatar\/44a4cee54c4c053e967fe3e7d054edd4?s=96&d=mm&r=g","height":96,"width":96}},"publisher":{"@type":"Organization","name":"Enzyklop\u00e4die","logo":{"@type":"ImageObject","@id":"https:\/\/wiki.edu.vn\/wiki4\/wp-content\/uploads\/2023\/08\/download.jpg","url":"https:\/\/wiki.edu.vn\/wiki4\/wp-content\/uploads\/2023\/08\/download.jpg","width":600,"height":60}},"image":{"@type":"ImageObject","@id":"https:\/\/upload.wikimedia.org\/wikipedia\/commons\/thumb\/3\/38\/Info_Simple.svg\/12px-Info_Simple.svg.png","url":"https:\/\/upload.wikimedia.org\/wikipedia\/commons\/thumb\/3\/38\/Info_Simple.svg\/12px-Info_Simple.svg.png","height":"12","width":"12"},"url":"https:\/\/wiki.edu.vn\/all2en\/wiki32\/wendel-dietterlin-wikipedia\/","wordCount":4117,"articleBody":"     (adsbygoogle = window.adsbygoogle || []).push({});before-content-x4Wendel dietlin , born in Pfullendorf in 1551 and died in Strasbourg in 1599, is a painter, ornamentalist and Germanic engraver of the second half of XVI It is century.        (adsbygoogle = window.adsbygoogle || []).push({});after-content-x4  Wendelin Dietterlin, his real name Grapp (Dietterlin or Dieterlen simply wanting to say “little dieter” in the sense of Dieter’s younger son), was born in 1551 in Pfullendorf [ first ] . He was still very young when he settled in Strasbourg, where he married in 1570 and whose bourgeoisie right he acquired the following year. Very active in the large Alsatian city, he decorated the Bruderhof [ 2 ] (a building adjoining the cathedral, the current site of the great seminary), then the renaissance wing of the house of the Notre-Dame work built in 1579-82 by Hans Thoman Uhlberger (if the frescoes in greyness of the facade have disappeared, there are some traces of the interior decor) as well as the new town hall [ 3 ] (today CCI seat) built in 1585 by Hans Schoch.        (adsbygoogle = window.adsbygoogle || []).push({});after-content-x4Conrad Schlossberger, intendant of the Duke Louis VI of Wurtemberg, brought him between 1590 and 1593 to Stuttgart to entrust him with the decoration of the pleasure castle ( New pleasure house ) Ducal. The Strasbourg artist painted a Creation of the world and one Last judgement on the ceiling of the great hall [ 4 ] . It was also in Stuttgart that he became friends with the architect Ducal Heinrich Schickhardt. This room and its frescoes were destroyed in the middle of the XVIII It is century, but the staatsgalerie retains a dizzying sketch of Last judgement (1590). Monograms of the artist. Ancient engraving of the New pleasure house From Stuttgart. Dietterlin was one of the first painters to use pastel [ 5 ] . Some of his compositions ( Elijah’s ascent , The ascent of Jesus Christ , The triumphant truth , The fall of Phaeton ), perhaps derived from missing paintings, have reached us by engravings. There Resurrection of Lazarus (1582 or 1587), kept at Karlsruhe’s Staatliche Kunsthalle, seems to be the only existing Dietterlin table. A Crucifixion , preserved at the Kresge Art Museum of the State University of Michigan in East Lansing, is also allocated to it. The Strasbourg workshop of Dietterlin was taken over by his son, Hilaire, then by the latter’s son, Barth\u00e9l\u00e9my (born in 1609), pupil of Johann Wilhelm Baur, and finally by the son of Barth\u00e9l\u00e9my, Jean-Pierre Dietterlin (born in 1642). Table of Contents       (adsbygoogle = window.adsbygoogle || []).push({});after-content-x4Architecture [ modifier | Modifier and code ] Bibliography [ modifier | Modifier and code ] Related article [ modifier | Modifier and code ] external links [ modifier | Modifier and code ] Architecture [ modifier | Modifier and code ]  Even if he does not have the status of architect, qualifying himself as “Strasbourg painter”, Dietterlin is best known for the many engravings (209 plates) and the bestial variations of his architecture treaty, Architectura. Of the outside division, symmetria and proportion of the five seules (“Architecture. From the arrangement, the symmetry and the proportions of the five styles”). Composed in Stuttgart and dedicated to Conrad Schlossberger, this work was published for the first time in two volumes in Stuttgart and Strasbourg in 1593-94 and reissued in Augsburg, then, with additional boards, in Nuremberg in 1598. It was then reissued several times and translates into Latin and French between the XVII It is and the XIX It is century. Following the model of the fourth book by Sebastiano Serlio ( Generale reigles of architecture, on the fifth edifies, Ascavoir, Thuscane, Doricque, Ionicque, Corinth, & Composite, AUC the examples Danticquitez, according to the doctrine of Vitruvian , Translation of Pieter Coecke Van Aelst, Antwerp, 1542) also taken up by Vignole ( Rule of five architecture orders , 1562), Dietterlin’s book is divided into five parts corresponding to as many architectural orders: Tuscan, Doric, Ionic, Corinthian and Composite. However, it is not a classic and rational interpretation, in the spirit of the high Renaissance, of the ancient Vitruvian heritage. On the contrary, while enrolling in the mannerist line of the Pins cave of the Ch\u00e2teau de Fontainebleau and the Extraordinary book (1551) by Serlio, the treaty of Dietterlin pushes anticlassicism, fantastic vein and decorative overload even further by imagining in particular picturesque, “bestiary” and “rustic” portals whose stone execution seems inconceivable. It is through this transplant of research from the first school of Fontainebleau on the Rhine Gothic exuberance that Dietterlin, exercised, like other artists from Northern Europe such as Hans Vredeman de Vries, a definite influence on ‘Evolution of artistic forms. Beyond his immediate contribution to the mannerist ornamentation of the time of Rodolphe II of Habsburg, the influence of Dietterlin is also detectable in certain baroque compositions, in particular in Portugal. Spotable, but in a very sweetened way, in certain facades of houses (like that of 29, Place Saint-Pierre in Bar-le-Duc, built in 1604 [ 6 ] ), the echo of the engravings of Dietterlin is found mainly in the fields of cabinetmaking and carpentry, less restrictive than architecture. His art is to be compared to that of the men of contemporary Burgundian art Hugues Sambin and Joseph Boillot, whose work on the “terms” or elements of architecture he continued by his famous bestial variations. Pan ( Architecture , pl. 59).  Pilasters and ionic sheaths (pl. 100). Bases, consoles and pedestals (pl. 137). Corinthian column barrels (pl. 138). Composite column barrels (pl. 178). Interior door (pl. 195). Composite portal (Pl. 196-197). Architecture with allegories, 1593 Man under an architecture of Fantaisie, 16th century (last quarter) Portal with caryatids, print (16th century, last quarter) Architecture Treaty Architectura. Of the outside division, symmetria and proportion of the five seules , Augsburg, 1594. \u2191 \u00c9douard Sitzmann (dir.), “Dietterlin, Wendelin” , In Biography dictionary of famous men from Alsace , t. 1, Rixheim, Sutter, 1909 ( read online ) , p. 382-383  \u2191 The decor of Bruderhof is attributed with little likelihood by Sitzmann ( on. Cit. , p. 383) at Hilaire Dietterlin, son of the artist (probably born around that time).  \u2191 Lucien Sittlers, Alsace, land of history , Alsatia, 1994, p. 142. However, it could be confusion with work carried out in 1617 by his son, Hilaire Dietterlin (reported by Sitzmann, on. Cit. ).  \u2191 Marcellin Berthelot (you.), The great encyclopedia , t. 14, Paris, Lamirault, 1892, p. 516.  \u2191 Eug\u00e8ne and \u00c9mile Haag, Protestant France , t. IV, Paris, Cherbuliez, 1853, p. 281.  \u2191 Charles Demoget, “the origins of Renaissance architecture at Bar and the old houses of the city”, Meuse directory , 1899, quoted by Alexandre Martin, “Le Vieux Bar”, Lorraine Illustrated Revue , 1907\/2, p. 119.  Bibliography [ modifier | Modifier and code ] Patricia Falgui\u00e8res, Mannerism. A vanguard to XVI It is century , Paris, Gallimard, 2004, p. 34-35 . Jean-Pierre Kintz, \u00abstart the Doul slug, Dit Dominaltur, Dittreal” I destore a New Alsatian biography dictionary , vol. 7, p.\u00a0646 Jean-Marie P\u00e9rouse de Montclos, History of French architecture. From the Renaissance to the Revolution , Paris, Meng\u00e8s\/\u00c9d. of heritage, 2003, p. 134-135 . \u00c9mile Reiber (dir.), Art for all :first re year, n O 6, 30 mars 1861 , p. 22 , and N O 21, November 15, 1861 , p. 82 ; 2 It is year, n O 34, 30 mars 1862 , p. 134 , and N O 38, May 10, 1862 , p. 150 ; 3 It is year, n O 66, February 20, 1863 , p. 269 , and N O 76, May 30, 1863 , p. 304 ; 4 It is year, n O 103, February 29, 1864 , p. 409 , and N O 125, October 10, 1864 , p. 498 . (of) E. Forssmann, Column and ornament Studies on the problem of mannerism in the Nordic column books and referral leaves of the 16th and 17th centuries , Stockholm\/Uppsala, Almqvist & Wiksell, 1956. (of) E. Forssmann, “Wendel Dietterlin, painter and architectural theorist”, in N. Riegel & D. Dombrowski (\u00c9d.) Architecture and figure. The interaction of the arts; Commemorative publication for Stefan Kummer on his 60th birthday , Munich, Deutscher Kunstverlag, 2007, p. 202-215 . (of) G. U. Gro\u00dfmann, “The various editions of the Architectura des Wendel Dietterlin”, in Plan of the Germanic National Museum , 1997, p. 157-173 . (of) M. pirr, Die Architectura des Wendel Dietterlin , Gr\u00e4fenhainichen, Schulze, s.d. [1940]. (of) S. Vieten-Kreubels, \u201cWendel Dietterlin\u201d, H. G\u00fcnther (\u00c9d.), In German architectural theory between Gothik and Renaissance , Darmstadt, scientific book company, 1988, p. 156-163 . (of) A. von Zahn, \u00abWendel Dietterlin’s pillar book\u00bb, in Archive for the drawing arts , 9, 1863, p. 97-108 . Sophie Laroche, Architectures Impossibles, Gand (Belgique): Snoeckknancy: Nancy-Mus\u00e9es, 2022 Related article [ modifier | Modifier and code ] external links [ modifier | Modifier and code ] On other Wikimedia projects:       (adsbygoogle = window.adsbygoogle || []).push({});after-content-x4"},{"@context":"http:\/\/schema.org\/","@type":"BreadcrumbList","itemListElement":[{"@type":"ListItem","position":1,"item":{"@id":"https:\/\/wiki.edu.vn\/all2en\/wiki32\/#breadcrumbitem","name":"Enzyklop\u00e4die"}},{"@type":"ListItem","position":2,"item":{"@id":"https:\/\/wiki.edu.vn\/all2en\/wiki32\/wendel-dietterlin-wikipedia\/#breadcrumbitem","name":"Wendel Dietterlin \u2014 Wikipedia"}}]}]