Download E-books The Complete Engravings, Etchings and Drypoints of Albrecht Durer (Dover Fine Art, History of Art) PDF
By Albrecht Dürer
All of Dürer's works in 3 mediums are reproduced during this version. between them are his most famed works, Knight, dying and satan; Melencolia I; and St. Jerome in His Study. additionally integrated are pictures of his contemporaries, together with Erasmus of Rotterdam and Frederick the Wise, as well as six engravings previously attributed to Dürer.
Read or Download The Complete Engravings, Etchings and Drypoints of Albrecht Durer (Dover Fine Art, History of Art) PDF
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Extra info for The Complete Engravings, Etchings and Drypoints of Albrecht Durer (Dover Fine Art, History of Art)
38 Apollo and Diana four 1957, p. 137. 29. WITCH driving BACKWARDS ON A GOAT * * * Monogram with the D reversed; no date . a hundred and fifteen X 70 mm; four half X 2 3/4 in. No border traces. B. sixty seven; okay. forty-one; D. forty-one; T. 179; M. sixty eight; P. 174. * * * This engraving too is obviously in line with an Italian version. it truly is such as Mantegna. 1 No passable clarification has but been chanced on of this topic. Tietze2 means that a minimum of the putti should be on the topic of Mantegna’s misplaced portray Melancholia. * * * 1 Thausing, 1876, vol. I, p. 230. 2 T. 179. 30. 3 PUTTI WITH defend AND HELMET * * * Monogram; no date . one hundred fifteen X 70 mm; four half X 2 3/4 in. No border strains. B. sixty six; okay. forty; D. forty; T. one hundred eighty; M. ninety nine; P. 173. * * * Retberg1 considers this print a pattern of Dürer’s humor. The putti already announce his identify whereas retaining an empty escutcheon of the Aristocracy (which he lots wanted to possess). Panofsky2 calls this a minor engraving. Winkler3 observes that during this example previous heraldic showpieces, frequently staid and dry, have given technique to an “animated” technique. * * * 1 Retberg, 1871, No. 114. 2 1943, vol. I, p. eighty three. three 1957, p. 137. 31. COAT-OF-ARMS WITH LION AND hen * * * Monogram; no date . 187 X 122 mm; 7 1/4 X four 3/4 in. With border strains. B. a hundred; ok. 31; D. 37; T. 212; M. ninety seven; P. 207. * * * As early as 1778, Hüsgen termed this engraving “rare and dear. ” Bartsch praised the “intelligence and excellence of the workmanship. ” It used to be, via consensus of so much students, no longer meant because the crest of a specific family members yet “purely a construction of fancy. ”1 This print was once frequently dated on the subject of the “Coat-of-Arms with a cranium” (No. forty) till Flechsig2 mentioned that the fashion of the monogram exhibits a touch previous time. Dürer started putting a date on all of his engravings starting in 1503. Panofsky3 reviews that the hen was once thought of the one animal able to scary the lion. in line with the drawings W. 177 and W. 257. * * * 1 ok. 31. 2 1928, vol. I, pp. 195, 222, 445. three 1943, vol. I, p. eighty three; P. 207. 32. THE VIRGIN WITH the baby CHRIST AND ST. ANNE * * * Monogram; no date . one hundred fifteen X 70 mm; four half X 2 3/4 in. No border strains. B. 29; okay. 25; D. 26; T. W27; M. forty three; P. 136. * * * Opinion has been vastly divided in regards to the benefits of this engraving. Hausmann1 referred to as it “charming. ” Retberg2 stumbled on the Virgin “so short of in the Aristocracy of shape and pose that one is tempted to take her for a low-grade servant, and the kid in her palms for the child Virgin. ” Tietze3 denies the authenticity altogether and calls it a workshop construction. He unearths the placement of the Virgin’s legs awkward and the pill bearing the monogram too critical and insensitive to be through Dürer. Panofsky’s remark: “Rather detached. ” there's a notable resemblance among this engraving and Dürer’s woodcut B. eighty four. * * * 1 1861, p. 17. 2 1871, No. forty four. three T. W27. 33. ST. SEBASTIAN on the TREE * * * Monogram on a pill; no date . a hundred and fifteen X 70 mm; four 0.5 X 2 3/4 in. No border strains. B. fifty five; okay. 19; D. 24; T. W50; M. sixty two; P. 162. * * * Thausing1 observed a courting to the sequence of captives engraved via Jacopo de Barbari.