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Then the Van Eycks, Hubert and Jan, Rogier van der Weyden, Hugo van der Goes, Hans Memling, Quentin Massys, Lucas van Leyden, the two Hans Holbein, elder and younger, Burgkmair, Wolgemut, and then, master of them all, Albrecht Dürer.
I should easily earn this if I had not got the German picture to paint, for all men except the painters wish me well. Tell my mother to speak to Wolgemut about my brother, and to ask him whether he can make use of him and give him work till I come, or whether he can put him with some one else.
Still, no one with practical experience would consider these woodcuts as adequate facsimiles: which makes the question of their attribution to Wolgemut, or his partner and step-son, Pleydenwurff, of still less interest and importance than it is on all other grounds.
In each the Esthetic problem has been approached and solved in a strikingly different manner. This picture and its fellow, the portrait of the painter at Madrid, the Oswolt Krel, the portrait of a lady seen against the sea at Berlin, the Wolgemut, and Duerer's own portrait at Munich, though seen by the same absorbing eyes, are rendered each in quite a different manner.
The wares that Duerer lost in Rome were doubtless chiefly woodcuts and engravings which his prentice had taken to sell during his wanderjahre, as Duerer himself during his own had very likely sold prints for Wolgemut.
I explained this to my father, but he was not satisfied, for he regretted the time I had lost." Benvenuto Cellini has told us how his father, in like fashion, was eager that he should practise the "accurst art" of music. Dürer's father, however, soon gave in and in 1486 apprenticed the boy to Michael Wolgemut. So "it was arranged that I should serve him for three years.
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.
When he had reached the age of fourteen, it was his father's intention to have placed him under the instruction of Martin Schoen, of Colmar, the most distinguished artist of his time in Germany, but the death of the latter happening about that time, he became a pupil of Michael Wolgemut, in 1486, the first artist then in Nuremberg, with whom he studied diligently four years.
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