Appended to the last book, however, is a self-contained essay on aesthetics, which Durer worked on between 1512 and 1528, and it is here that we learn of his theories concerning 'ideal beauty'. Durer rejected Alberti's concept of an objective beauty, proposing a relativist notion of beauty based on variety. Nonetheless, Durer still believed that truth was hidden within nature, and that there were rules which ordered beauty, even though he found it difficult to define the criteria for such a code. In 1512/13 his three criteria were function ('Nutz'), naive approval ('Wohlgefallen') and the happy medium ('Mittelmass'). However, unlike Alberti and Leonardo, Durer was most troubled by understanding not just the abstract notions of beauty but also as to how an artist can create beautiful images. Between 1512 and the final draft in 1528, Durer's belief developed from an understanding of human creativity as spontaneous or inspired to a concept of 'selective inward synthesis'. In other words, that an artist builds on a wealth of visual experiences in order to imagine beautiful things. Durer's belief in the abilities of a single artist over inspiration prompted him to assert that "one man may sketch something with his pen on half a sheet of paper in one day, or may cut it into a tiny piece of wood with his little iron, and it turns out to be better and more artistic than another's work at which its author labours with the utmost diligence for a whole year."

Question: "How many years passed between the first and final drafts of Durer's essay on aesthetics?"

Response: "16 years had passed since his first draft"
OPTIONS:
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A: yes

Gravitational Potential Energy is affected by position. Like the leaves on trees, anything that is raised up has the potential to fall. It has potential energy. You can see examples of people with gravitational potential energy in 1.5 Figure below. Gravitational potential energy depends on two things. It depends on its weight, because a large falling rock can do more damage than a leaf falling from a tree. It also depends on its height above the ground. Like the skateboarder, the higher the ramp, the faster he will be going when he reaches the bottom. Like all energy, gravitational potential energy has the ability to do work. In this case, weight has the potential to deliver a force. More important for us is that it has the ability to cause change. What kind of change you may ask? Gravitational potential energy has the ability to cause motion.

Question: "What affect does gravitational potential energy have on leaves?"

Response: "The can fall"
OPTIONS:
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A: yes

The Venetian artist Jacopo de' Barbari, whom Durer had met in Venice, visited Nuremberg in 1500, and Durer said that he learned much about the new developments in perspective, anatomy, and proportion from him. De' Barbari was unwilling to explain everything he knew, so Durer began his own studies, which would become a lifelong preoccupation. A series of extant drawings show Durer's experiments in human proportion, leading to the famous engraving of Adam and Eve (1504), which shows his subtlety while using the burin in the texturing of flesh surfaces. This is the only existing engraving signed with his full name. Durer made large numbers of preparatory drawings, especially for his paintings and engravings, and many survive, most famously the Betende Hande (English: Praying Hands, c. 1508 Albertina, Vienna), a study for an apostle in the Heller altarpiece. He also continued to make images in watercolour and bodycolour (usually combined), including a number of still lifes of meadow sections or animals, including his Young Hare (1502) and the Great Piece of Turf (1503, both also Albertina).

Question: "Which named works were made by Durer in Albertina, Vienna?"

Response: "Meadow section"
OPTIONS:
- no
- yes

A:
no