By Albrecht Dürer
All of Dürer's works in 3 mediums are reproduced during this version. between them are his most renowned works, Knight, demise and satan; Melencolia I; and St. Jerome in His Study. additionally incorporated are snap shots of his contemporaries, together with Erasmus of Rotterdam and Frederick the Wise, as well as six engravings previously attributed to Dürer.
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Additional info for The Complete Engravings, Etchings and Drypoints of Albrecht Durer (Dover Fine Art, History of Art)
2 1943, vol. I, p. 230. ninety seven. CARDINAL ALBRECHT OF BRANDENBURG; or, the nice CARDINAL * * * Monogram and date, 1523. 174 X 127 mm; 6 3/4 X four 5/8 in. With border traces; abnormal corners. B. 103; okay. ninety eight, D. ninety nine; T. 897; M. one zero one; P. 210. * * * “Before I turned sick this 12 months I despatched an engraved copper plate on your Electoral Grace along with your portrait including impressions thereof. discovering no acknowledgment of this on your Grace’s letter, I worry that both the portrait didn't please Your Grace—this may sadden me, as my diligence may have had negative results—or else, I worry that it may well now not have reached Your Grace in any respect. i urge Your Grace for a gracious answer. ” hence we've got in Dürer’s personal phrases the historical past of this engraving. 1 based on Hausmann,2 “the undeniable fact that Dürer despatched copies to the Cardinal, all produced even as, explains the uniform caliber of such a lot of impressions present in quite a few collections. these kinds of have the same watermark, a small jug. ” This engraving is predicated on a brand new preparatory drawing3 that most likely dates from the nutrition of Nuremberg, 1522/23. The Cardinal had won weight because the previous portrait (No. 88). in accordance with Wölfflin,4 “the Cardinal had wild, sticking out eyes, a bulbous mouth and layers of fats on chin and cheeks. Dürer offset the important decrease a part of the face with a wide cap. It means that underneath it a wide extraordinary head is to be chanced on. in truth that was once now not the case. Dürer used utmost discretion within the remedy of the physiological info with no denying the big truth. it's Dürer’s best usage of a profile. ” Panofsky5 notes that “in distinction with the ‘Small Cardinal,’ and in keeping with different overdue portrait engravings, this panel has intensity and substance. it really is handled as a true pill, carved and framed after the style of Roman tombstones, that have been universal in Germany, as in Italy and France. ” Such tombstones have been defined in Konrad Peutinger’s Inscriptiones vetustae roman[ae] et earum fragmenta in Augusta Vindelicorum et eius diocesi Mogunciaci, 1520, released through Johann Schöffer. 6 * * * 1 Rupprich, vol. I, p. ninety five. 2 1861, p. 37. three W. 896. four 1905, p. 330. five 1943, vol. I, p. 238. 6 according to style communique of Dr. Peter Strieder, Nuremberg. ninety eight. ST. BARTHOLOMEW * * * Monogram and date, 1523, on a capsule. 122 X seventy six mm; four 3/4 X 2 7/8 in. No border strains. B. forty seven; ok. seventy nine; D. ninety seven; T. 908; M. forty five; P. 154. * * * The knife within the hand of the saint is the tool of his martyrdom. in accordance with Wölfflin,1 “the engravings of the Apostles of this final interval are particularly subdued and unemotional. The stance calls for the viewer to examine the top of the saint and to find what characterizes his greatness. ” Dodgson2 issues out the absence of a halo, which distinguishes this plate and “St. Simon” (No. ninety nine) from the sooner participants of the set of Apostles. Tietze3 comments upon the “Raphaelesque pathos, just like that of ‘St. Paul’ [No. 73]. ” Winkler4 phrases it “more down-to-earth than the lofty form of 1514.