Albrecht Dürer: The Age of Reformation and Renaissance
Albrecht Dürer St Jerome in His Study, 1514 Woodcut, image: 9 1/4 x 6 1/8 in Cincinnati Art Museum, Gift of Herbert Greer French, 1940 221 The brilliant and versatile German Renaissance artist Albrecht Dürer (1471–1528) lived in the prosperous city of Nuremberg and is celebrated as one of the finest printmakers of all time This
The Polygons of Albrecht Dürer -1525
The Polygons of Albrecht Dürer -1525 G H Hughes The early Renaissance artist Albrecht Dürer published a book on geometry a few years before he died This was intended to be a guide for young craftsmen and artists giving them both practical and mathematical tools for their trade In the second part of that book , Durer gives compass and straight
NGA Albrecht Dürer: Master Drawings, Watercolors, and
Albrecht Dürer (1471 – 1528) was the preeminent artist of the North-ern Renaissance His bold imagination, sophisticated technique, and probing intellect made him the German equal of Leonardo da Vinci in Italy Dürer excelled as a painter who received many important com-missions, but his most influential and innovative works were his draw-
ALBRECHT DURER - simonberardgarden
associated with the name of Albrecht Durer It will refer him to catalogues and corpuses where illustrations and more specialized information may be found, and indicates, as far as possible, the connections which exist between two or more works, particularly between draw ings on the one hand and prints and paintings on the other
Albrecht Dürer: The Search for the Beautiful in a Time of Trials
Albrecht was a skilled goldsmith (like the fathers of many Florentine artists, includ-ing Brunelleschi), who had emigrated with his family—Albrecht was third of 18 children—from Hungary to Nurem-berg to seek a better life The humanist intelligentsia of Northern Europe was, in significant degree, the product of the long-term
Stag Beetle, Albrecht Dürer - Getty
"It is indeed true," wrote Albrecht Dürer, "that art is omnipresent in nature, and the true artist is he who can bring it out " The Stag Beetle is one of Dürer's most influential and most copied nature studies Singling out a beetle as the focal point of a work of art was unprecedented in
Albrecht Dürer Artists’ Watercolor Pencils
Albrecht Dürer® Artists’ Watercolor Pencils are available in 120 open stock colors and in 12, 24, 36, 60 and 120 count tins, gift sets and wooden cases Practical Demo Exercise #1 – Watercolor Resist - Use a Polychromos® pencil and draw some vertical lines with intense color - Shade over the lines with an Albrecht Dürer® pencil
Young Hare (1502)
Albrecht Durer (1471 – 1528) Young Hare (1502) Watercolor, 9 88” x 8 90” Pronounced: Al-brekt Duhr-ur Keywords: Line, Texture Activity: Texture Collage Medium: Toothpicks, Feathers, Colored Pencils Meet the Artist Born in Germany, one of 18 children, almost 550 years ago As a child he always liked to draw
On Viewing Aztec gold
Empire, who placed them on exhibit in 1520 Albrecht Dürer, the master German artist, viewed the exhibit in Brussels and extolled its beauty in his travel journal _____27 August 1520 At Brussels is a very splendid Townhall, large and covered with beautiful carved stonework, and it has a noble, open tower I saw the things
[PDF] albrecht dürer biographie courte
[PDF] albrecht dürer oeuvres
[PDF] melencolia de dürer
[PDF] albrecht dürer autoportrait
[PDF] rhinocéros de dürer
[PDF] séance vocabulaire de la ruse
[PDF] vocabulaire de la ruse 6ème
[PDF] renart et tibert le chat
[PDF] portrait romanesque
[PDF] tout sur le sida
[PDF] exemple rédaction d un portrait
[PDF] dtu pose carrelage plancher chauffant
[PDF] taille carrelage plancher chauffant
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The Life and Jlrt of
ALBRECHT DURER
BY ERWIN PANOFSKY
-PRINCETON UNIVERSITY PRESS · 1955PRINCETON, NEW JERSEY
COPYRIGHT 1943, @ 1955, BY PRINCETON UNIVERSITY PRESSREPRODUCTIONS BY
THE MERIDEN GRAVURE COMPANY
DESIGNED BY P, J, CONKWRIGHT
SECOND EDITION, REVISED, 1945
THIRD EDITION, 1948
FOURTH EDITION, 1955
Second Printing, 1965
Third Printing, 1967
PRINTED IN THE UNITED STATES OF AMERICA
THE FIRST EDITION OF THIS BOOK WAS AIDED BY A GRANTFROM THE AMERICAN COUNCIL OF LEARNED SOCIETIES
FROMA FUND PROVIDED BY
THE CARNEGIE CORPORATION OF NEW YORK
To Walter W. S. Cook,
u!braham F!exner,Charles Rufus J)(orty
. iPreface
F oR reasons best known to itself, the Princeton University Press has proposed to make my book on Albrecht Durer, last issued in 1948, available in what may be called a portable edition: a single volume containing theText (including the
Bibliography and the previous Prefaces)
as well as the Illustrations, but not the Handlist of Works. I have accepted this proposal the more readily as the remarkable improvement of the offset process, largely due to the ingenuity and patience of Mr. E. H. Hugo of the Meriden Gravure Company, now makes possible the successful duplication of the original illustrations. The very nature of this process precluded major alterations;* but this restriction, it is hoped, will increase rather than impair the usefulness of the present volume. Since neither the pagination of the text nor the numeration of the pictures has been changed, references to the earlier editions are equivalent to references to the new one and vice versa. And that the text still bristles with Handlist numbers (Arabic numerals in parentheses), even though the Handlist itself has disappeared, may be helpful to those who wish for more specific information than the present volume provides. This new edition, then, differs from its more ambitious predecessors in size and appear ance rather than in purpose: it is still the same book, addressed to the student as well as the "general reader." And with the interests of the former in mind, the Princeton Uni versity Press has agreed to the addition of an Appendix fp. 299) containing some correc tions and amplifications; so that, if the original editions may serve as a completive adjunct to the present volume, the present volume may serve as a corrective postscript to the original editions.Princeton, N.J.
November
1, 1954
E. P.* Such changes as were made will be found in the follpwing places: p. 24, line 4 from the foot of the
page; p. 44, line 14 s.; p. 7 5, beginning of first paragraph; p. Sg, line 5 s. of the section beginning with
"The year .1 503" ; p. go, line 2; p. 91, opening of the section beginning with "Diirer did not do much paint·
ing"; p. 146, last lines of the second paragraph; same page, last sentence of the third paragraph; p. 147,
last line of the second paragraph; same page, line 14 ss. from the foot of the page; p. 157, line 6; p. 170,
line 10 ss. from the foot of the page; p. 192, line 15 s.; p. 215, line 1. IXPREFACE TO THE FIRST EDITION
T HE text of the present publication was mainly developed from the Norman Wait Harris Lectures delivered at Northwestern University in 1938. It is therefore ad dressed to a "mixed audience" rather than to scholars. Time-honored truths and errors are intermixed with new ones; what might be held indispensable in a comprehensive monograph is at times suppressed, and emphasis is placed on what may seem trivial to the specialist. However, in order to make the book somewhat useful to the more serious student two additions have been made. Appended to the text is a Selected Bibliography (pp. 287-2¢), and in Volume II is found a Handlist of the Works of Durer, including Ascribed Works andImportant Copies,
followed by a Concordance of the Engravings, Woodcuts, Drawings andBook Illuminations. This
Handlist-consistently referred to in the text-is not a "critical catalogue" but a mere inventory which, it is hoped, will help the English-speaking reader to find his way through the vast and bewildering mass of material which, rightly or wrongly, is associated with the name of Albrecht Durer. It will refer him to catalogues and corpuses where illustrations and more specialized information may be found, and indicates, as far as possible, the connections which exist between two or more works, particularly between draw ings on the one hand and prints and paintings on the other. As a rule, bibliographical refer ences are given only if not yet included in the catalogues and corpuses referred to, and explanatory remarks have been restricted to a minimum.The writer has mostly contented
himself with expressing his personal opinion as to date and authenticity.Only where he
hoped to make some contribution to the argument, or where he felt that the case needed restating, has he embarked upon a brief discussion. The Handlist thus serves a threefold purpose: first, to help the reader to locate illustrations not found in this book; second, to make him aware of the genesis and affiliations of the works discussed in the text; third, to call his attention to works not mentioned in the text at all. The writer has to apologize, first, for having repeated in his last chapter several para graphs already published, in more or, less identical form, in a recent but not easily accessible study entitled The Codex Huygens and Leonardo da Vinci's Art Theory (Studies of theWarburg Institute,
xm), London, 1940; second, for not having discussed Durer's Treatise on the. Theory of Fortification the subject of which is plainly beyond his compass; third, for having incorporated in the section on the engravingMelencolia I (pp. 156-171) the more
important results of the as yet unpubljshed second edition of his and his friend Dr. Saxl's previous book on the subject (Bibliography, no. 166). Its publication having been prevented by the War, he could not help anticipating it to some extent, but he wants to make it perfectly clear that half of the credit, if any, goes to Dr. Saxl and his associates. He furthermore wishes to thank all those who, in one way or another, have assisted him in the preparation of these Xl XllPREFACE
present volumes, particularly Mr. F. Lugt and Miss Agnes Mongan for information as to the present location of drawings; Messrs.H. H. Arnasson, Q. Beckley O.P., H. Bober,
E. F. Detterer,
H. A. Mayor, M. Meiss, R. Offner, H. P. Rossiter, G. SchOnberger, D. A. Stauffer, H. Swarzenski and Miss K. Serrell for various suggestions, general helpfulness, and assistance in procuring photographs; Messrs. GeorgeH. Forsyth, Jr. and Richard Stillwell
for the design of Text Illustrations 1 and 2; and, first of all, Miss Margot Cutter for her understanding help in revising the English and for preparing the Indices of Vol. II. The writer's especial gratitude is due to the American Council of Learned Societies and the Carnegie Corporation whose financial help made this publication possible, and to Mr. Lessing J. Rosenwald and Miss Elizabeth Mongan who not only allowed most of the reproductions of prints and illustrated books to be made from the admirable originals in the AlverthorpeGallery but also placed
at the writer's disposal the skill of their excellent photographer,Mr. W. Auerbach.
PREFACE TO THE SECOND EDITION
THE second edition of this book appears so soon that the writer had no time to change his mind on any major point. He has therefore limited himself to minor corrections and adjust ments on the one hand and to a few Addenda on the other. The corrections and adjustments have not been especially indicated, but the writer wishes to mention those-apart from simple typographical errors-which were suggested by others:Vol. I, p. 25, 1. 16 from bottom: the fact that the material of the drawing L. 658 (653) cannot be sepia
was pointed out in W. Stechow's Review of this book in Art Bulletin, XXVI, 1944, pp. 197-199 (hereafter referred to as "Stechow").Vol. I, p. 64: the error in the original text ill. 1 (handle of the burin upside down) was kindly brought
to the writer's attention by a letter from Mr. Kalman Kubinyi. ·Vol. I, p. 66, second paragraph: the identity of the "praying-cricket" in the engraving B. 44 (151) was
doubted by Dr. R. Bernheimer, and his doubts were subsequently confirmed by the Museum of NaturalHistory in New
York.Vol. I, p. 109, last lines: the fact that the "Feast of the Rose Garlands" (38) is no longer in the Mon
astery of Strahow was pointed out by Stechow.Vol. II, p. 8, no. 13: the possible connection between the inscription on the Bearing of The Cross in
Richmond and Diirer's theoretical views was pointed out by Stechow.Vol. II, p. 93, no. 907: the writer's opinion of this drawing became still more favorable upon inspection
of a large-scale photograph kindly shown to him by Mrs. E. Tietze-Conrat. Vol. II, p. 109, nos. 1062 and 1063: F. Winkler's statement to the effect that the drawing T. 381 ( 1062) was done with the pen-unaccountably overlooked by the writer-was brought to his notice byStechow.
Vol. II, p. 119, no. 1198: the fact that the attribution of the drawing L. 92 (u98) to Jacques de Gheyn
had been rejected by J. Q. van Regteren Altena was pointed out by Stechow. The Addenda consist, first, of two fortunately not very important Handlist items origi nally overlooked by the writer; second, of some supplementary remarks elicited by such contributions as have been published after the first edition of this book had gone to press. For