The Essential Durer

The Essential Du¨rer ................. 17524$ $$FM 10-01-09 13:47:16 PS PAGE i ................. 17524$ $$FM 10-01-09 13:47:17 PS PAGE ii The Essential DÜRER Edited by Larry Silver and Jeffrey Chipps Smith university of pennsylvania press philadelphia ................. 17524$ $$FM 10-01-09 13:47:18 PS PAGE iii Copyright ᭧ 2010 University of Pennsylvania Press All rights reserved. Except for brief quotations used for purposes of review or scholarly citation, none of this book may be reproduced in any form by any means without written permission from the publisher. Published by University of Pennsylvania Press Philadelphia, Pennsylvania 19104-4112 Printed in the United States of America on acid-free paper 10987654321 Library of Congress Cataloging-in-Publication Data The essential Du¨rer / edited by Larry Silver and Jeffrey Chipps Smith. p. cm. Includes bibliographical references and index. ISBN 978-0-8122-4187-7 (alk. paper) 1.Du¨rer, Albrecht, 1471–1528—Criticism and interpretation. I. Du¨rer, Albrecht, 1471–1528. II. Silver, Larry, 1947– III. Smith, Jeffrey Chipps, 1951– N6888.D8E88 2010 760.092—dc22 2009013838 ................. 17524$ $$FM 10-01-09 13:47:18 PS PAGE iv contents List of Illustrations vii Preface xi List of Abbreviations xiii 1.Du¨rer—Man, Media, and Myths 1 Larry Silver 2.Du¨rer’s Drawings 12 Christiane Andersson and Larry Silver 3.Du¨rer and the High Art of Printmaking 35 Charles Talbot 4.Du¨rer as Painter 62 Katherine Crawford Luber 5.Du¨rer and Sculpture 74 Jeffrey Chipps Smith 6.Du¨rer and Venice 99 Andrew Morrall 7. The Artist, His Horse, a Print, and Its Audience: Producing and Viewing the Ideal in Du¨rer’s Knight, Death, and the Devil (1513) 115 Pia F. Cuneo ................. 17524$ CNTS 10-01-09 13:47:20 PS PAGE v vi contents 8. Civic Courtship: Albrecht Du¨rer, the Saxon Duke, and the Emperor 130 Larry Silver 9.Du¨rer and the Netherlands: Patterns of Exchange and Mutual Admiration 149 Dagmar Eichberger 10. Agony in the Garden: Du¨rer’s ‘‘Crisis of the Image’’ 166 Donald McColl 11. Albrecht Du¨rer between Agnes Frey and Willibald Pirckheimer 185 Corine Schleif 12. Impossible Distance: Past and Present in the Study of Du¨rer and Gru¨newald 206 Keith Moxey Notes 227 Short Bibliography 277 List of Contributors 281 Index 283 ................. 17524$ CNTS 10-01-09 13:47:20 PS PAGE vi illustrations 1.1. Peasant Monument 3 1.2. Self-Portrait, 1484 6 2.1. Self-Portrait, ca. 1491–92 19 2.2. Women’s Bath, 1496 21 2.3. Adoration of the Holy Trinity, 1508 23 2.4. Willibald Pirckheimer, 1503 24 2.5. Du¨rer’s Mother (Barbara Holper), 1514 25 2.6. Soldier on Horseback, 1498 27 2.7. Madonna and Child, ca. 1515 28 2.8. Nude Woman with a Staff, ca. 1502–329 2.9. Alpine Landscape, 1494–95 30 2.10. View of Innsbruck from the North, ca. 1494–95 31 2.11. Large Piece of Turf, 1503 32 2.12. A Young Woman from Cologne and Du¨rer’s Wife, 1521 33 2.13. Dream Vision, 1525 33 3.1. Melencolia I, 1514 40 3.2. The Four Horsemen, 1498 42 3.3. Virgin and Child with the Monkey, ca. 1498 44 3.4. Holy Family, 1512–13 45 3.5. St. Jerome by the Pollard Willow, 1512 46 3.6. St. Jerome in His Study, 1514 47 ................. 17524$ ILLU 10-01-09 13:47:22 PS PAGE vii viii illustrations 3.7. St. Eustace, ca. 1500–1501 49 3.8. Samson Fighting with the Lion, ca. 1497–98 52 3.9. Christ on the Mount of Olives, ca. 1497–99 53 3.10. Veit Stoss, Christ on the Mount of Olives, finished 1499 53 3.11. Church of St. Lorenz, Nuremberg, interior view of the choir, 1439–77 54 3.12. Nativity, ca. 1509 55 3.13. Presentation of Christ in the Temple, ca. 1504–556 3.14. Nativity, 1504 57 3.15. Resurrection, 1510 58 3.16. Landscape with the Cannon, 1518 60 3.17. Desperate Man, ca. 1514–15 61 4.1. Salvator Mundi, ca. 1504–564 4.2. Virgin with the Pear, 1512 69 4.3. Underdrawing for Virgin with the Pear 70 5.1. Holy Family with Three Hares (woodcut), ca. 1497 77 5.2. Holy Family with Three Hares (pearwood block), ca. 1497 78 5.3. Veit Stoss, Mary Altarpiece, 1520–23 79 5.4. Master E. S., Large Madonna of Einsiedeln, 1466 80 5.5. Design for a Great Table Fountain with Soldiers, ca. 1500 84 5.6. Georg Christian Wilder, Interior of the Chapel of the Zwo¨lfbru¨derhaus, 1836 85 5.7. Loy Hering, Wolfstein Altarpiece, 1519–20 87 5.8. Adam and Eve, 1504 89 5.9. Master I. P., Adam and Eve, mid-1520s 90 5.10. Johann Kleberger, 1526 92 5.11. Georg Schweigger, St. John the Baptist Preaching, 1646 94 5.12. Hans Schwarz, Albrecht Du¨rer, 1520 95 5.13. Hans Daucher, Allegory with Albrecht Du¨rer, 1522 96 ................. 17524$ ILLU 10-01-09 13:47:22 PS PAGE viii illustrations ix 6.1. View of Arco, ca. 1495 102 6.2. Diverse Figure Studies, ca. 1495 104 6.3. Feast of the Rose Garlands, 1506 108 6.4. Head of an Angel, 1506 111 6.5. Christ among the Doctors, 1506 112 7.1. Knight, Death, and the Devil, 1513 116 7.2. Sebald Beham, Trotting Horse with Grid, 1528 124 7.3. Erhard Scho¨n, Die ander Figur, 1542 125 8.1. Frederick the Wise, ca. 1496 131 8.2. Hercules Killing the Stymphalian Birds, 1500 132 8.3. Arch of Honor (Triumphal Arch of Emperor Maximilian I), finished ca. 1518 136 8.4. Design for a Saddle, 1517 140 8.5. Small Burgundian Marriage, 1516–18 143 8.6. Large Triumphal Chariot (detail), 1522 145 8.7. Maximilian I, 1518 146 8.8. Maximilian I, ca. 1519 147 8.9. Frederick the Wise, 1524 148 9.1. Lazarus Ravensburger, 1520 155 9.2. Woman in Netherlandish Dress, 1521 156 9.3. The Promenade, ca. 1498 158 9.4. Israhel van Meckenem, The Promenade, after 1498 159 9.5. St. Jerome, 1521 163 10.1. Agony in the Garden, 1521 168 10.2. Sudarium Held by an Angel, 1516 172 10.3. Agony in the Garden, 1524 174 10.4. Anonymous, Agony in the Garden, ca. 1500 175 10.5. Self-Portrait as the Man of Sorrows, 1522 177 10.6. Christ Bearing the Cross and Man (Lazarus Spengler?) ................. 17524$ ILLU 10-01-09 13:47:23 PS PAGE ix x illustrations Bearing the Cross, ca. 1525 178 10.7. Rain of Crosses on a page from Du¨rer’s Gedenckbuch, 1503 179 10.8. Last Supper, 1523 180 10.9. Four Apostles, 1526 182 11.1. Georg Christoph Wilder, House of Hans VI Imhoff, 1816 186 11.2. Draft of letter written by Willibald Pirckheimer, 1530 190 11.3. Mein Agnes, 1494/98 199 11.4. Agnes Du¨rer in Netherlandish Clothing, 1521 200 11.5. Willibald Pirckheimer with Albrecht Du¨rer 202 11.6. Willibald Pirckheimer, ca. 1503 203 12.1. Matthias Gru¨newald, Isenheim Altarpiece, completed 1515 212 12.2. George Grosz, Shut Up and Do Your Duty, 1927 213 12.3. Self-Portrait, 1500 222 ................. 17524$ ILLU 10-01-09 13:47:23 PS PAGE x preface The title of this volume clearly states its purpose. The Essential Du¨rer should provide newcomers to the artist as well as experienced viewers of his work an overview of the most important features of his oeuvre. Conse- quently, the organization of the essays begins with the major media and working methods of the artist, who excelled—even innovated—in painting, drawing, and the several media of printmaking, while also actively contribut- ing designs for sculpture. The artist’s complex personality and individual self- consciousness appear at every turn, from the biographical data that he pro- vided as a personal memorial (even down to his recording of a nightmare!) to the subtle negotiations, both professional and spiritual, that he made within the tumultuous first decade of the Lutheran Reformation in his home- town of Nuremberg. Of course, no man is an island. Albrecht Du¨rer interacted with the major artistic traditions of his day, both in the Netherlands and in Italy, especially Venice. He served as the familiar of princes, both the duke of Saxony and the Holy Roman Emperor, while maintaining close ties to the patrician elite of Nuremberg. Thus this volume investigates the artist’s wider connections, even his interpretive fortunes in later German art history, as well as his individual artistic achievements. Clearly large sections of libraries are already devoted to Albrecht Du¨rer, but several good reasons call for a new volume of such ‘‘essentials.’’ For one thing, much of the important recent literature, including some major exhibitions and monographs, remains in German, inaccessible to the English reader. One of the ironies of twentieth-century Du¨rer scholarship is that the main foundational study of the artist’s life and art, written by e´migre´ Erwin Panofsky and first published during World War II in 1943, did not receive its translation from English into German until 1977 when it was undertaken by Lise Lotte Mo¨ller, who had been one of his last students at the University of ................. 17524$ PREF 10-01-09 13:47:25 PS PAGE xi xii preface Hamburg before his firing in 1933 by the National Socialists.

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