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Updated: May 23, 2025
Whatever de Hooghe could do in shade, Van Eyck in detail, Giorgione in mass, Titian in colour, Bewick and Landseer in animal life, is here at once; and I know no other picture in the world which can be compared with it." In the same room is a figure of Christ mourned by two little angels, ascribed to Giovanni Bellini, but bearing Durer's monogram.
The girl took the papers and moved again to the window. She opened one and smoothed it thoughtfully, running her eye along the page. She shook her head slowly. "There is no date, grandmamma," she said. "But it must be after Dürer's death. He speaks of Frau Dürer" a smile shaded her lips "he doesn't like her very well, I think. When did Dürer die, grandmamma?" She looked up from the paper.
"Durer's figure of 'Melancholy' has never satisfied me, and there is more ferocity than sadness in the countenance, which would serve quite as well for one of the Erinney hunting Orestes, even in the adytum at Delphi. The face is more sinister than sorrowful." "Since your opinion of that picture coincides so entirely with mine, tell me whether I have successfully grasped Coleridge's dim ideal."
In some instances, the monogram is found appended to the full signature of the artist, as in Albert Dürer's beautiful engraving of Adam and Eve, and in other less celebrated works, especially those of the early engravers. It is to be observed, however, that some artists were by no means uniform in the style of monogram which they employed.
Somehow or other, the whole reminded me of Albert Durer's "Melencholia." Seeing I was interested in looking about his shop, my new friend for I could not help feeling that we should be friends before all was over, and so began to count him one already resumed the conversation. He had never taken up the dropped thread of it before.
Then we go north again, to Dürer's Adoration of the Magi, a picture full of pleasant detail a little mountain town here, a knight in difficulties with his horse there, two butterflies close to the Madonna and interesting also for the treatment of the main theme in Dürer's masterly careful way; and then to Spain to Spagnoletto's "S. Jerome" in sombre chiaroscuro; then north again to a painfully real Christ crowned with thorns, by Lucas van Leyden, and the mousy, Reynoldsy, first wife of Peter Paul Rubens, while a Van Dyck portrait under a superb Domenichino and an "Adam and Eve" by Lucas Cranach complete the northern group.
The subject is conspicuous in Albert Durer's Life of the Virgin, where Jesus is seated on high, as one having authority, teaching from a chair like that of a professor in a university, and surrounded by the old bearded doctors; and Mary stands before her Son in an attitude of expostulation.
In passing, it is interesting to remember that Dürer, whose engravings now sell for hundreds of dollars each, sold them himself at his own house for prices varying between the values of fifteen and twenty-five cents, according to the size of the plate. The Council of Venice refused him the copyright he asked, but interdicted the copyist from using Dürer's initials.
With seventeen brothers and sisters, young Durer's problem was a serious one.
The inducement to the marriage seems to have been, on the father's part, the dowry, and on the son's the beauty of the bride. How unhappy the union proved, without any fault of Albrecht's, has been the theme of so many stories, that I am half inclined to think that some of us must be more familiar with Albrecht Dürer's wedded life than with any other part of his history.
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