The Visualization of Perspective Systems and Iconology in Dürer's
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AN ABSTRACT OF THE DISSERTATION OF Adèle Lorraine Wörz for the degree of Doctor of Philosophy in Geography presented on October 10, 2006 . Title: The Visualization of Perspective Systems and Iconology in Dürer’s Cartographic Works: an In-Depth Analysis Using Multiple Methodological Approaches Abstract approved: __________________________________________________________________ A. Jon Kimerling This dissertation uses a new methodological approach for an in-depth analysis of three cartographic works. Studies within the discipline of the history of cartography have followed various methodologies throughout the past century. This dissertation argues that in order to come to a more complete understanding of how maps were produced and viewed throughout history, it is necessary to study their geographical and scholastic context on a variety of scales: their modes of production, the city in which they were produced, the surrounding academic community responsible for the content, the vernacular and academic viewers at the time, and how the maps would be been received both at the time of their dissemination and subsequently. Albrecht Dürer produced one terrestrial and two celestial maps in the early sixteenth century under the patronage of the Emperor Maximilian I, which were co-authored by Johannes Stabius and Conrad Heinfogel. Despite the collaborative nature of these maps, Dürer’s influence pertaining to the final visualizations is substantial enough to warrant the majority of focus in this dissertation. Widely esteemed during the Renaissance and in later periods throughout all of Western Europe, Dürer is best known for his copperplate and woodcut engravings. The Northern artistic trend of artistic realism and the Italian one-point perspective system were combined in Dürer’s terrestrial map, resulting in a visualization of his artistic theory of perspective. This highlights the theme of my dissertation, which is the integral nature of artistic and scientific forces in Renaissance maps. Dürer’s experimentation with projection, unfortunately, was too subtle for contemporary audiences, who could not visualize the distinctions between his projection system and Ptolemy’s. I attribute this as the main reason to why his terrestrial map was never printed. His celestial maps were printed multiple times and disseminated throughout Europe. These were novel for the sixteenth century, combining accuracy of star-placement with classical constellation figures. Dürer’s cartographic works demonstrate an innovativeness with form and representation. His fame as both a practical and theoretical artist justifies a closer examination of his influence on subsequent cartographic works. © Copyright by Adèle Lorraine Wörz October 10, 2006 All Rights Reserved The Visualization of Perspective Systems and Iconology in Dürer’s Cartographic Works: An In-Depth Analysis Using Multiple Methodological Approaches by Adèle Lorraine Wörz A DISSERTATION submitted to Oregon State University in partial fulfillment of the requirements for the degree of Doctor of Philosophy Presented October 10, 2006 Commencement June 2007 Doctor of Philosophy dissertation of Adèle Lorraine Wörz presented on October 10, 2006 APPROVED: __________________________________________________________________ Major Professor, representing Geography __________________________________________________________________ Chair of the Department of Geosciences __________________________________________________________________ Dean of the Graduate School I understand that my dissertation will become part of the permanent collection of Oregon State University libraries. My signature below authorizes release of my dissertation to any reader upon request. _____________________________________________________________ Adèle Lorraine Wörz, Author ACKNOWLEDGEMENTS I am indebted to my advisor, Dr. A. Jon Kimerling. I first became interested in maps after taking one of his cartography classes. Four classes and four years later, I find myself ever more fascinated by maps. It is his enthusiasm for the subject that has always motivated me. His patience and guidance has continually helped me throughout this process. I sincerely thank my committee members: Ron Doel, Dawn Wright, Gordon Matzke and Larry Lev. They have generously given their time and expertise to improve my work and knowledge of the discipline. This dissertation would not have been possible without the help of Douglas and Irene Johnson, who provided emotional support throughout my educational career. Ich möchte mich bei Wilhelm und Franziska Wörz, meinen Schwiegereltern in Deutschland, bedanken. Ohne ihre liebevolle Unterstützung hätte ich diese Arbeit nicht abschließen können. Endlich muss ich mich bei Ulrich Wörz bedanken. Er hat mir immer geholfen, beraten, und geliebt. TABLE OF CONTENTS Page CHAPTER 1: INTRODUCTION………………………………...…..……………1 CHAPTER 2: METHODOLOGY AND LITERATURE REVIEW….…………..7 Review of Possible Approaches………………………………………….20 Connoisseurship………………………………………………………….22 Formalism………………………………………………………………..24 Iconography……………………………………………………………...25 Social Histories of Art…………………………………………………...30 Semiotics…………………………………………………………………38 Post-structuralism/Post-modernism……………………………………...44 New Approach to Visualization………………………………………….51 CHAPTER 3: NÜRNBERG’S HUMANISM AND PRINT CULTURE………..57 Introduction to Woodcuts……………………………………….………..58 Nürnberg Print Culture and Humanists……….……...…………………..66 Dürer’s Involvement with Schedel’s Chronicle………………………….72 Dürer’s Large-format Book Illustrations………………………………...77 Conclusion……………………………………………………………….83 CHAPTER 4: PATRONAGE AND TERRESTRIAL CARTOGRAPHY……...86 Artist’s Intellectual Life and Patronage………………………………….90 Perspective/Projection Systems………………………………………...100 Conclusion……………………………………………………………...120 CHAPTER 5: ICONOLOGY AND CELESTIAL CARTOGRAPHY………..122 History of Celestial Cartography……………………………………….123 Dürer’s Celestial Maps…………………………………………………142 Iconology: Classical, Contemporary, and Scientific………...…………160 Celestial Globes and Spherical Representations………………………..171 TABLE OF CONTENTS (Continued) Page Conclusion……………………………………………………………...174 CONCLUSION…………………………………………………………………176 Research Implications…………………………………………………..177 Future Research………………………………………………………...179 BIBLIOGRAPHY………………………………………………………………181 LIST OF FIGURES Figure Page 1. Albrecht Dürer. Die Weltkarte des Johannes Stabius . 1515 Woodcut in four pieces. 645 x 850 mm.................................1 2. Albrecht Dürer. The Northern Hemisphere of the Celestial Globe . 1515. Woodcut. 433 x 432 mm. Graphische Sammlung, Stuttgart…………………………………………..1 3. Albrecht Dürer. The Southern Hemisphere of the Celestial Globe . 1515. Woodcut. 430 x 435 mm. Graphische Sammlung, Stuttgart…………………………………………..1 4. Albrecht Dürer. Woodcut of the Southern Hemisphere of the Celestial Globe . 430 x 435 mm. Berlin, SMPK, Kupferstichkabinett (slg. Dershcau)……………………...62 5. Albrecht Durer. Adam and Eve. 1507. Oil on panel. Museo del Prado, Madrid, Spain………………………………………….64 6. Albrecht Dürer. Adam and Eve . 1504. Engraving. 252 x 194 mm. Staatliche Kunsthalle, Karlsruhe........................................64 7. Albrecht Dürer. The Fall (Der Sündenfall). ca. 1510. Woodcut. Kleine Passion, 2. Woodcut. 128 x 98 mm. monogrammed…….............................................................64 8. Albrecht Dürer. Battle of the Sea-Gods . 1494. Pen drawing copy after the Mantegna……………………………………65 9. Hartmann Schedel. Liber chronicarum (The Nuremberg Chronicle ). Detail. 1493. Germanisches Nationalmuseum, Nürnberg………....................................75 10. Albrecht Dürer. Der heilige Sebaldus auf der Säule (Flugblatt mit der Ode des Conrad Celtis an den heiligen Sebaldus). 1501. Woodcut and printed text. 330 x 280 mm (with text). Wien (Albertina).…………………………………………………...…….76 11. Hartmann Schedel. Proof of Liber chronicarum (The Nuremberg Chronicle ). 1493. Woodblock. Germanisches Nationalmuseum, Nürnberg…………................................78 LIST OF FIGURES (Continued) Figure Page 12. Hartmann Schedel. Liber chronicarum (The Nuremberg Chronicle ). Detail. 1493. Germanisches Nationalmuseum, Nürnberg………....................................79 13. Albrecht Dürer. The Revelation of St John: 5. Opening the Fifth and Sixth Seals . 1497-98. Woodcut, 39 x 28 cm. Staatliche Kunsthalle, Karlsruhe............................79 14. Hartmann Schedel. Liber chronicarum (The Nuremberg Chronicle ). Detail. 1493. Germanisches Nationalmuseum, Nürnberg………………………………80 15. Albrecht Dürer. The Revelation of St John: 5. Opening the Fifth and Sixth Seals . Detail. 1497-98. Woodcut, 39 x 28 cm. Staatliche Kunsthalle, Karlsruhe............................80 16. Albrecht Dürer. The Revelation of St John: 5. Opening the Fifth and Sixth Seals . Detail. 1497-98. Woodcut, 39 x 28 cm. Staatliche Kunsthalle, Karlsruhe............................80 17. Hartmann Schedel. Liber chronicarum (The Nuremberg Chronicle ). Detail. 1493. Germanisches Nationalmuseum, Nürnberg………………………………81 18. Albrecht Dürer. The Revelation of St John: 5. Opening the Fifth and Sixth Seals . Detail. 1497-98. Woodcut, 39 x 28 cm. Staatliche Kunsthalle, Karlsruhe............................81 19. Albrecht Dürer. Die Heilige Dreifaltigkeit (The Trinity). 1511. Woodcut. 389 x 282 mm. Monogrammed and dated. British Museum, London.................................82 20. Albrecht Dürer. Ptolemy's Armillary Sphere . Woodblock..........................83 21. Albrecht Dürer. Die Weltkarte des Johannes Stabius . 1515 Woodcut in four pieces. 645