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Updated: May 18, 2025
They have not been fused in the rapture of some unique mood, not focussed by the intensity of an emotion. With the Melancholy all is different; perhaps among all his works only Duerer's most haunting portrait of himself has an equal or even similar power to bind us in its spell.
Though lines almost as fine as those possible on metal have been achieved by wood engravers, in doing this they force the nature of their medium, whereas on a copper plate fine lines come naturally. Perhaps no section of Duerer's work reveals his unique powers so thoroughly as his engravings on metal.
Here is Duerer's success: let and hindered as it really is, he makes us feel the inalienable constancy of rational desire, watching adverse circumstance as one beast of prey watches another. She keeps hold on the bird she has caught, the ideal that perhaps she will never fully enjoy.
It consists of a charming and gay Nativity in the centre, and two knights in armour on the wings, probably portraits of the donors, Stephan and Lucas Paumgartner, figuring as warlike saints. Stephan, a personal friend of Duerer's, figured again as St. George in the Trinity and All Saints picture painted in 1511.
It is the same thing with the reported sayings of Michael Angelo, and indeed of all other great men. It is impossible to accept "his hand was not trained to follow the perception and nimbleness of his mind" as Duerer's dictum on Mantegna; but how suggestive is the allusion to "broken and scattered statues set up as examples of art," for artists to form themselves upon!
Docility is the sovran help to perfection for Duerer and Reynolds, and more or less explicitly for all other great artists who have treated of these questions. DUeRER'S ORIGIN, YOUTH AND EDUCATION Who was Duerer? He has told us himself very simply, and more fully than men of his type generally do; for he was not, like Montaigne, one whose chief study was himself.
These are a draughtsman's creations; though they are less abundant in Duerer's work than one could wish, still only the greatest produce such effects; only Michael Angelo, Titian, and Rembrandt can be said to have equalled or surpassed Duerer in this kind, rarely though it be that he competes with them.
For have they not been told above all things to love their enemies, and do good to those whom they would naturally hate, by a master whom they really love and strive to imitate? Duerer's last years were given more and more to writing down his ideas for the sake of those who, coming after him, would, he was persuaded, go on far before him in the race for perfection.
Hieronymus Andreae, the most skilful and famous of Duerer's wood engravers, caused the Council the same kind of alarm and concern. He took part with the peasants in their rebellion; but rebellion against a known authority was more pardonable than that against the unknown, or else his services were of greater value.
Duerer's literary remains sufficiently prove his mind to have been constantly exercised upon and around great thoughts, and their influence may be felt in the austerity and intensity of his noblest portraits and other creations.
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