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Meisterstiche (Dürer)
The Meisterstiche ("master prints") by Dürer are three of his most famous engravings. They are ''Knight, Death and the Devil'' (1513), ''Melencolia I'' (1514) and Saint Jerome in His Study (Dürer), ''St. Jerome in His Study'' (1514). These three large prints (about ) are often grouped together because of their perceived quality and unity of meaning, although this latter is a matter of scholarly dispute. Art historian Erwin Panofsky has described them as showing meticulous care in execution and also having complexity and significance in terms of iconography. Panofsky, while recognising that these are Durer's "most famous engravings" and are "not unjustly, known as his 'Meisterstiche'", notes that they "have no appreciable compositional relationship with one another" and should not, in any technical sense, be "considered as 'companion pieces'". They do, Panofsky argues, form "a spiritual unity". Here, Panofsky refers to Friedrich Lippmann's noticing of the scholastic classificatio ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Knight, Death And The Devil
''Knight, Death and the Devil'' () is a large 1513 engraving by the German artist Albrecht Dürer, one of the three '' Meisterstiche'' (master prints) completed during a period when he almost ceased to work in paint or woodcuts to focus on engravings. The image is infused with complex iconography and symbolism, the precise meaning of which has been argued over for centuries. A stolid armoured knight on a proud horse, accompanied by his faithful dog, rides through a wild narrow gorge flanked by a goat-headed devil and the figure of death riding a pale horse. Death's rotting corpse holds an hourglass, a reminder of the shortness of life. The rider moves through the scene looking away from the creatures lurking around him, and appears almost contemptuous of the threats, and is thus often seen as symbol of courage; the knight's armour, the horse which towers in size over the beasts, and the oak leaves are symbolic of the resilience of faith, while the knight's plight may represent ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Melencolia I
''Melencolia I'' is a large 1514 engraving by the German Renaissance artist Albrecht Dürer. Its central subject is an enigmatic and gloomy winged female figure thought to be a personification of melancholia – melancholy. Holding her head in her hand, she stares past the busy scene in front of her. The area is strewn with symbols and tools associated with craft and carpentry, including an hourglass, weighing scales, a hand plane, a claw hammer, and a saw. Other objects relate to alchemy, geometry or numerology. Behind the figure is a structure with an embedded magic square, and a ladder leading beyond the frame. The sky contains a rainbow, a comet or planet, and a bat-like creature bearing the text that has become the print's title. Dürer's engraving is one of the most well-known extant old master prints, but, despite a vast art-historical literature, it has resisted any definitive interpretation. Dürer may have associated melancholia with creative activity; the woman may ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Saint Jerome In His Study (Dürer)
''Saint Jerome in His Study'' () is a copper engraving of 1514 by the German artist Albrecht Dürer. Saint Jerome is shown sitting behind his desk, engrossed in work. The table, on the corner of which is a cross, is typical of the Renaissance. An imaginary line from Jerome's head passing through the cross would arrive at the skull on the window ledge, as if contrasting death and the Resurrection. The lion in the foreground is part of the traditional iconography of St. Jerome, and near it is a sleeping dog, an animal found frequently in Dürer's works, symbolizing loyalty. Both creatures are part of Jerome's story in the '' Golden Legend'' (c. 1260), which contained fanciful hagiographies of saints. ''St. Jerome in His Study'' is often considered as part of a group of three Dürer engravings (his Meisterstiche), the other two being the well-known '' Melencolia I'' (1514) and '' Knight, Death and the Devil'' (1513). Together they have been viewed as representing the three spheres ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Erwin Panofsky
Erwin Panofsky (March 30, 1892 – March 14, 1968) was a German-Jewish art historian whose work represents a high point in the modern academic study of iconography, including his hugely influential ''Renaissance and Renascences in Western Art'' and his seminal '' Early Netherlandish Painting''.Shone, Richard and Stonard, John-Paul, eds. ''The Books that Shaped Art History'', chapter 7. London: Thames & Hudson, 2013. Panofsky's ideas were highly influential in intellectual history in general,Chartier, Roger. ''Cultural History'', pp. 23–24 (from "Intellectual History and the History of ''Mentalités''"). Ithaca: Cornell University Press, 1988 particularly in his use of historical ideas to interpret artworks and vice versa. Many of his books are still in print, including ''Studies in Iconology: Humanist Themes in the Art of the Renaissance'' (1939), ''Meaning in the Visual Arts'' (1955), and his 1943 study ''The Life and Art of Albrecht Dürer''. His academic career was pursue ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Friedrich Lippmann
Friedrich Lippmann (6 October 1838 in Prague – 2 October 1903 in Berlin) was a German art historian and director of the Kupferstichkabinett Berlin, Kupferstichkabinett, Berlin State Museums, noted for his work on Dürer, Holbein and Italian 15th-century woodcuts. Max Jakob Friedländer, who was later to become a noted scholar of Early Netherlandish painting and the Northern Renaissance, worked under Lippmann in 1891 as a volunteer assisting with Lippmann's graphics collection.Royal Academy of Arts: Friedrich Lippmann (1838 - 1903) RA Collection: People and Organisations Accessed 13 Feb 2019 https://www.royalacademy.org.uk/art-artists/name/friedrich-lippmann Selected publications * ''Zeichnungen von Albrecht Dürer'' (Berlin: G. Grote, 1883–1929) [vols. 6-7 completed by Friedrich Winkler] * ''The Art of Wood-engraving in Italy in the Fifteenth Century'', 3 vols. (London: B. Quaritch, 1888) Other sources Achenbach, S. (1996).'' Das Berliner Kupferstichkabinett und die ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
