Vietnam or Thailand ? Vote for the TOP Country of the Week !
Updated: May 24, 2025
DUeRER AS A CREATOR DUeRER'S PICTURES Duerer's paintings have suffered more by the malignity of fortune than any of his other works. Several have disappeared entirely, and several are but wrecks of what they once were.
The Fondaco dei Tedeschi, or Exchange of the German Merchants at Venice, had been burned down the winter before, and they were in haste to complete a new one. Duerer may have received assurance that the commission to paint the altar-piece for the new chapel would be his did he desire it. At any rate he seems to have set to work on such a picture almost as soon as he arrived there.
As I took a sentence from Michael Angelo, I will now take a sentence from Duerer, one showing strongly that evangelical strain so characteristic of him, born of his intuitive sense for human solidarity. After an argument, which will be found on page 306, he concludes: "It is right, therefore, for one man to teach another. He that doeth so joyfully, upon him shall much be bestowed by God."
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.
Raphael had, we are told by Lodovico Dolce, drawings, engravings, and woodcuts of Duerer's hanging in his studio; and Vasari tells us he said: "If Duerer had been acquainted with the antique he would have surpassed us all." The Nuremberg master, in return for the drawing, sent a portrait of himself to Raphael, which has unfortunately been lost.
"You shall soon see," says Albrecht, "if you will ask of me anything I can do for you." Then says Bellini: "I want you to make me a present of one of the brushes with which you draw hairs." Duerer at once produced several, just like other brushes, and, in fact, of the kind Bellini himself used, and told him to choose those he liked best, or to take them all if he would.
It was only at Venice and Antwerp that he was welcomed as the Albert Duerer whom we to-day know, love, and honour. C. S. Ricketts and Mr. C. H. Shannon, reproduced in the sixth folio of the Duerer Society, 1903. Mr. Campbell Dodgson describes the drawing as in a measure spoilt by retouching, but what convinces him that these retouches are not by Duerer? DUeRER'S METAL ENGRAVINGS
How one would like to have heard Duerer, as Erasmus may probably have heard him, explain the principles on which he composed! No doubt there is no very radical difference between his sense of composition and that of other great artists. But to hear one so preoccupied with explaining his processes to himself discourse on this difficult subject would be great gain.
But the happy critic, free from any personal knowledge of what creation means, or what aids are likely to forward it, is for ever in such a hurry to correct great creators like Leonardo, Duerer, or Hokusai, that he fails to understand them; and when he has caught them saying, "This is how anger or despair is expressed," calmly smiles in his superiority and says,
This last is a reference to those strutting, finely-dressed portraits of the artist which stand beside the entablatures bearing his name, that of his birthplace, the date, &c., in four out of the five most elaborate pictures which Duerer painted. But I would like to suggest that probably this apparent resemblance to his royal patron is not thus altogether well accounted for.
Word Of The Day
Others Looking