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Updated: June 6, 2025
That many before him had felt that of their art, to a lesser or greater degree, is unquestionable but none of them had ever realised it. Dürer, certainly, may be cited as an exception, especially when contrasted with his phlegmatic and business-like compatriot Holbein. But then Dürer, a century before, and in totally different circumstances, was never assured of regular patronage as was Rembrandt.
On that tiny surface he painted the whole story of the crucifixion, and it is now in the Dresden Gallery. To those of us who see little mentality in the faces of the Italian subjects, the German art of Durer, often ugly in the choice of models, and so exact as to bring out unpleasing details, is nevertheless the greater; because in all cases, the faces have sincere expressions.
Pons was of the opinion of Chenavard, the print-collector, who laid it down as an axiom that you only fully enjoy the pleasure of looking at your Ruysdael, Hobbema, Holbein, Raphael, Murillo, Greuze, Sebastian del Piombo, Giorgione, Albrecht Durer, or what not, when you have paid less than sixty francs for your picture. Pons never gave more than a hundred francs for any purchase.
When we have such splendid examples as Durer and two or three others we discuss their intellectuality because they are so unusual. Holman Hunt was like most of his brother artists in all but his art. He hated school and at twelve years of age was taken from it. His father wanted him to become a warehouse merchant like himself, and he began life as clerk or apprentice to an auctioneer.
Erasmus is the man who is too sensible and moderate for the heroic. What a surprising difference there is between the accent of Erasmus and that of Luther, Calvin, and Saint Teresa! What a difference, also, between his accent, that is, the accent of humanism, and that of Albrecht Dürer, of Michelangelo, or of Shakespeare. Erasmus seems, at times, the man who was not strong enough for his age.
Now, pointing to Wilibald Pirckheimer, who sat opposite, he went on with his story, describing how, thanks to the mediation of the latter and of the great artist, Albrecht Durer, he had obtained an audience at Innsbruck with the Emperor Maximilian, how the sovereign had interceded personally in behalf of himself and his betrothal, and how, in consequence of this royal intervention, he had attained the goal of his wishes.
I should not object to having my portrait painted by Dürer, that great artist; but how this can be done I do not see. Once at Brussels he sketched me, but after a start had been made the work was interrupted by callers from the Court. Though I have long been a sad model for painters, and am likely to become a sadder one still as the days go on.
Three years afterward, Durer entered the office of the Emperor's secretary. Later, he became, himself, private secretary. Later still, he received a barony and a handsome estate. So much for the prophecies, so much for the secret influence of the Counsellor Werter! Durer was on the highway paved with gold; but he forgot his father, and he forgot his mother, too.
Jean Limousin 17th century for another. Albert Dürer beginning of 16th century in more than one of his engravings. However, you can just hold this species of proof in reserve till I look up the subject. I won't forget." "God bless ye, Tammas! Would it be faysible at all at all fur ye till stap to the morrow mornin', an' ride out wi' me the day?" "Well yes." "Blessin's on ye, Tammas!
However, for the present, Maximilian was keen enough to see that the boy's mechanical skill was not as yet equal to his genius; so he only encouraged him to practise, adding that he heard there was a rare lad, one Durer, at Nuremburg, whose productions were already wonderful. "And what is this?" he asked; "what is the daintily- carved group I see yonder?"
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