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Updated: May 18, 2025
The last of these masters of themselves and of their fortunes in hazardous and change-fraught times is Hieronymus Holzschuher, Duerer's friend.
So with etchings; if people would only forget that they are works of art, forget all the false or ill-understood standards which they have been led to suppose applicable, and look at them as they might at agate stones; or choose out the richest in effect: the most suitable for a gay room, or a hall, or a library, as though they were patterned stuffs for curtains; they would come a thousand times nearer a right appreciation of Duerer's success than by making a pot-shot to lasso the masterpiece with the tangle of literary rubbish which is known as art criticism.
Arthur Strong that Duerer's art is always didactic; and Duerer as a writer on art certainly has ever before his mind this one object, to teach others, or, as I should prefer to phrase it, to help others to learn.
Jerome, B. 60, with its homely seclusion as of Duerer's own best parlour in summer time which not even the presence of a lion can disturb; the idyllic and captivating St.
They were to be studio work, and are supposed to be chiefly due to Duerer's brother Hans. There is, however, one picture extant which gives an idea of the execution of the missing centre panel, the Holy Trinity and All Saints at Vienna; which, in spite of his vow never to do such work again, was commenced shortly after the Coronation, and for a Nuremberg patron.
Duerer's work as a whole shows no distaste for saints, the Virgin, or bishops and popes; he had no objection, no scruple apparently, to introducing the notorious Julius II. into his Feast of the Rosary, some ten years later.
The Peasants' War gave rulers a foretaste of the panic they were to undergo at the time of the French Revolution. And in the towns men like "the three godless painters" made the burghers shake in their shoes for the social order which kept them rich and respected and others poor and servile. It is strange that all three should have come from Duerer's workshop.
We now turn to the third and fourth of the half-dozen pictures of Duerer, which stand out from all the rest by their elaboration and importance. It is now represented by a copy made by Paul Juvenal in its original position, where the almost ruined portraits of Heller and his wife are supposed to have been partly Duerer's, though the other panels are obviously the work of assistants.
"Nay!" rejoined Duerer, "but what you advance cannot be put into words or even figured to the mind." I remember hearing Melanchthon often tell this story, and in relating it he confessed his astonishment at the ingenuity and power manifested by a painter in arguing with a man of Pirkheimer's renown. Such scenes no doubt took place during the years after Duerer's return from the Netherlands.
Already in the woodcuts provided by Michael Wolgemut, Duerer's master, to illustrate books, there is a general attempt to render cross hatching: and the eyes and hair, though still those of an engraver, are frequently modified to some extent in deference to the character given by the draughtsman.
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