Authorship Claim by D Ürer, 215–16N17 Underdrawing

Cambridge University Press 0521562880 - Albrecht Durer and the Venetian Renaissance Katherine Crawford Luber Index More information

Index

Adam and Eve (engraving, Bartsch 1), Albrecht Dürer: Handzeichnungen 215–16n17 (Wolfflin),¨ 55 Adam and Eve (Prado), Anzelewsky, Fedja, authorship claim by Durer,¨ alleged Venetian trips (Durer),¨ 46, 215–16n17 48, 50, 51, 72 underdrawing description, 17 Durer/Bellini¨ connection, 57–8 Adoration of the Magi, 215–16n17 painting attributions and, Adoration of the Trinity and the All 196n13 Saints, pomegranate motif as Venetian, 46, authorship claim by Durer,¨ 48, 50 215–16n17 technical studies of Durer,¨ 9 distinct techniques with, 126, Apelles, 132–4, 139–40, 164, 170 comparison of Durer¨ to, 1, 65, 73, illustration, 36f, 37f 108–9, 117–18 infrared reflectograms of, 136f, rivalry with Protogenes, 117–18 137–9f use of Apelles simile, 199–200n47 landscapes and, 56 Apocalypse, Nuremberg citizens in, 133–4 alleged Venetian influence on, pictorial space in, 100, 108 59–60 preparatory drawings for, 19 relationship to Lot and His underdrawing description, 23, 52, Daughters, 52 133–4, 221–2n16–17 Apollo and Diana, 215n16 Venetian influence on, 126, 132, Avarice, 133–4, 139–40, 164, 170 illustration, 25f watercolor for, 90 underdrawing of, 18, 23–4, X-radiographs of, 136f 193n47 Alberti, color perspective, 107, 213n69–71 Bacchanal with Silenus (copy), speed of execution, 118–19 Durer’s¨ copying of, 60, 72 Albrecht Dürer: Die Gemäldeder Alten illustration, 61f Pinakothek (Goldberg), 12 Barbari, Jacopo de, 64, 198–9n43

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Index

Battle of the Sea Monsters (copy), Christ in the Sepulcher, 54 Durer’s¨ copying of, 60, 72 chronological dating and illustration, 61f underdrawings, 8 Bellini, Gentile, 57–8 Chrysostom, John, 144–5 Bellini, Giovanni, “colore”/“disegno” partition, 1–2 authorship claims by, 113, coloristic perspective, 104–7 214–15n15 Conway, William, 62, 89 Christ Among the Doctors and, 120, Corpus Christi Procession, 57–8 218–19n51, 219n53 Crab, 58–9, 197n26 Durer’s¨ admiration for, 64–5, 97, Cyril of Alexander, 144–5 110, 112–13 Durer’s¨ competition with, 110, da Fontana, Giovanni, 169–70 coloristic perspective, 105–7, Feast of the Rose Garlands and, 112 147 ﬂesh painting by, 141 painting/religious metaphor, 147 Lamentation cityscape, 97 Danti, Vincenzo, 116 lighting and, 87–8, 212n63 Das Weiherhaus. See Little House on the portraits by, 41 Pond preparatory drawings and, 82–3, “Daz Ding,” 62–3, 64, 198n38 207n19 Della pittura (Alberti), 118–19 Virgin with the Pear and, 129 De Viris Illustribus (Facius), 66 Bellini, Jacopo, Die Reise ins Heilige Land, 58 coloristic perspective, 105–6, 147, “disegno”/“colore” partition, 1–2 211n59 Dolce, Lodovico, 119 and Giovanni da Fontana, 147 Draughtsman Drawing a Portrait, Burckhardt, Jacob, 67 portraits of Maximilian and, 166 Burkhardt, Daniel, 63, 68, 69 woodcut, 166f Durer,¨ Albrecht, Caroto, Giovanni Francesco, 53 500th anniversary/exhibits, 72 carta azzurra, authorship claims by, 113–14, availability of, 80 215–16n16–17 description, 80 bias against (overview), 1–3, 55, Durer’s¨ use of, 71, 80, 81–4, 91, 110 108–9 light and, 81–2, 84 on bias against his painting, 89, 92, for preparatory drawings, 81–4 112, 210n50 Castiglione, 119 coloristic perspective of, 104, Christ Among the Doctors (Plate II), 106–7, 164 Bellini and, 120, 218–19n51, color theory of, 88–90, 105–6, 219n53 177–80 critical reception of, 219n52 comparison to Apelles, 1, 65, 73, Durer’s¨ time claims for, 120 108–9, 117–18 speed of execution, 120–1, 123–4, competition and, 110, 169–70, 220n62 214n12 underdrawing description, 18, 23 ﬁrst use of preparatory drawings, underdrawing of, 11f 18

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flesh depiction by, 130, 132–3, Erasmus, Desiderius, 1, 108–9 140–1, 144, 147–8, 164, 170–1, “erhaben,” 88–9, 209–10n39 222n18 eristic imitation, 117, 169–70, 217n33 Foppa’s technique and, 141, 223n27 future studies on, 170, 227n1–2 Facius, Bartholomeus, 66 hypotheses of current study, 17–19, Family of Emperor Maximilian I 23–4, 28–9, 36–7 (Strigel), 161, 163f, 167, 226n14 imitation theory and, 116–17, Feast of the Gods (Bellini), 216n27 description, 141 light/color use, 89–90, 91–3, 96, illustration, 143f 106, 211–12n62 Feast of the Rose Garlands (Plate I), Mantegnesque influences on, Bellini and, 112 59–60, 63, 67–8, 198n40 coloristic perspective in, 106 painting abilities of (overview), Durer’s¨ time claims for, 120–1 3–5, 170–1 Emperor Maximilian I in, 149, 161, Panofsky’s bias against, 70–1, 104, 163 109, 114, 125 history of condition, 173–6 pictorial space conception shift, 78, infrared reflectography and, 80–1 93–8, 100–2, 104 light/color with, 89–90, 91–3, 96, two cultures and, 3 106 use of color, 88–90, 210n50, lighting and, 81–2, 84–7, 113 216n20 painterly vision of space with, 93–8, Venetian society vs. Nuremberg 100–2, 101, 104, 110 society, 75, 76 preparation of the panel, 78–80 Wanderjahre, 58, 60, 63, 68, preparatory drawings description, 129 18, 80–4, 86–7 See also specific works preparatory drawings of, 29–32f, Durer’s¨ technique (overview), 206n13, 208n25, 208n27 alleged Venetian influences on, quotations from Bellini’s work and, 41–2 110, 112–15, 124–5 before Venice trip, 17–18 restorations of, 173–4, 175 innovation with Venice trip, 18, sources of, 110–12 37–8 speed of execution, 120–1, 123–4, in later paintings, 18–19, 23 220n62 paper sketches use, 23–4 trees in, 56 for portraits, 23–4, 28–9, 36–7, underdrawing description, 18, 23, 193n48 80–1, 84–6, 95–6, 207–8n24, 208n29 Emperors Sigismund and Charlemagne, underdrawing of, 26–8f 10 Venetian influence on, 41, 76–8, Ephrussi, Charles, 107–11, 163–4, 169–70 alleged Venetian trips (Durer),¨ X-radiograph of, 80f 68–9 fingerprints, conflict with Thausing, 68–9, in Durer’s¨ work, 11, 191n33 201n65 studies of, 11

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Flechsig, Eduard, illustration detail, 27f alleged Venetian trips (Durer),¨ 70, production of, 123 72, 74, 202n72–73 Hands of the Virgin, “Daz Ding,” 62–3 drawing, 30f flesh depiction, lighting of, 81 Italo-Byzantine technique, 126, Head of an Angel (Plate III), 123 140–1, 164, 170 Head of a Woman, in Virgin with the Pear, 130, 132–3, description, 141, 164 140–1, 144, 147–8, 164, 170–1, illustration, 143f 222n18 Head of Christ, Foppa, Vincenzo, drawing, 122f altarpiece by, 222–3n24 speed of execution, 123–4 flesh painting by, 141 Head of the Pope, Madonna and Child, 141, 142f drawing, 29f perspective, 106–7 lighting of, 81–2 Four Apostles, 10 Heller Altarpiece, Frey, Agnes, 67 assistance in painting, 53 destruction of, 18 Germany, panel preparation for, 78 “Gothic” history of, 75 preparatory drawings for, 18–19, Italian civilization vs., 75–6 108 gesso ground, 79 Heller, Jacob, 53 Glimm Lamentation, Hesiod, 117 illustration, 98f Hoffmann, Hans, 51 landscape in, 98, 101 Holzschuher, Lamentation, 12 underdrawing studies of, 12 Homer, 117 Goethe, hypotheses of current study, 17–19, preoccupation with Italy, 69 23–4, 28–9, 36–7 trips to Italy, 40–1 Great Nemesis, The, 60 imitation, eristic imitation, 117, 169–70, Haller Madonna, 217n33 alleged Venetian influences theory of, 115–18, 216n24 on, 44 Infant Christ Child, description, 52, 222n18 connection to Virgin with the Pear, illustration, 47f 127, 132 infrared reflectography of, 47f drawing, 32f landscapes in, 100 infrared reflectography, underdrawing description, 52 brush vs. pen identification, 13 Hands Holding a Book, determination of usefulness, 16 drawing, 122f Durer’s¨ paintings as receptive to, production of, 123 12–13 Hands of Maximilian, history of use, 5–6 description, 84–5 pigments/description, 13–14, 16, drawing, 32f 192–3n41–43

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Innsbruck from the North, Lomazzo, G.P., 106–7 pictorial space in, 100–2 Lombard, Peter, 146 watercolor, 99f Lot and his Daughters, Italian Castle, 102 alleged Venetian influences and, 44 Italian Mountains, description of, 52 pictorial space in, 102 illustration, 48f watercolor, 92f questionable attribution of, 52–3, Italienishe Reise (Goethe), 40–1 196n13 Italy, selling of, 53 German civilization vs., 75–6 modern civilization and, 75 Madonna and Child (Foppa), trade relationships with description, 141, 142f, 164 Nuremberg, 63–4 illustration, 142f See also Venetian influence; Madonna Before a Landscape, Venetian trips alleged Venetian influences and, 44, 46, 48, 50 Jabach Altarpiece, 52 illustration of, 45f Jabach Altar Wings, 17 pomegranate motif with, 46, 48, 50 Job and His Wife, questionable attribution of, 50–1 illustration, 22f underdrawing description, 50–1 underdrawing description, 17 underdrawing of, 45f John of Damascus, 144–6 Virgin description, 51 Madonna del Patrocinio, Katzheimer, Wolfgang, 100 alleged Venetian influences and, 44 Kneeling Donor, illustration of, 46f drawing, 31f questionable attribution of, 51 illustration detail, 26f Madonna mora o nera, lighting of, 86 description, 140, 164 underdrawing description, 85–6 illustration, 142f Knight, Death, and the Devil, 108 Madonna with the Parrot, 51 Koberger, Anton, 100–1, 146 Mantegna’s influences on Durer,¨ 59–60, 63, 67–8, 198n40 Lady in Venetian Costume, 58 Martyrdom of the 10,000, Lamentation, 97 authorship claim by Durer,¨ Landauer, Matthaus,¨ 90, 133 215–16n17 Libellus (Scheurl), 65–6 distinct techniques with, 126, Liber cronicarum (Schedel), 60 132–3, 140, 170, 221n14 Life of Marcantonio Raimondi (Vasari), illustration, 38f 2–3 infrared reflectograms of, 134f, Lion, 53–4, 58–9, 67 135f Little House on the Pond (Das pictorial space in, 108 Weiherhaus), underdrawing description, 23, illustration, 103f 132–3 pictorial space in, 101 Venetian influence on, 126, 132–3, Lobster, 58–9 140, 170, 221n14

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Index

Meder, Joseph, Little House on the Pond, 101 alleged Venetian trips (Durer),¨ Martyrdom of the 10,000, 108 69–70, 74 Melancholia, 108 carta azzurra and, 83 Pupila Augusta, 93–7, 101, 164 on Durer’s¨ abilities, 202n69 St. Anthony before a City, 93, 96–7, Pluviale, 91, 210n49 101, 108, 164 Melancholia, 108 St. Jerome, 108 View of Bamberg (Katzheimer), 100 New Testament and painting, 144–8 View of Kalchreuth, 104 View of Trent, 102, 104 Ober St. Veit Altar, 17 Virgin with the Pear, 108 Old Testament and underdrawings, Weltchronik (Schedel), 100–1 144–8 Wire Pulling Mill, 100–1 On Painting (Alberti), 107 Pino, Paolo, 119 On Technique (Vasari), 87 Pirckheimer, Willibald, 146–7 Pirckheimer, Willibald (Durer’s¨ Palma, 111 letters to), panel preparation, alleged Venetian trips and, 57, for Feast of the Rose Garlands, 78–80 62–4, 70, 73 for Heller Altarpiece, 78 Bellini, 110, 112–13 linen/canvas strips use in, 79, competition and, 214n12 204–5n7, 205n8 Durer’s¨ use of color, 89, 92, 112, Panofsky, Erwin, 210n50 alleged Venetian trips (Durer),¨ Feast of the Rose Garlands, 89, 112, 71–2, 74 121–2 Durer¨ and the Renaissance, on panel preparation, 78 193–4n1 Plato, 117 Durer’s¨ abilities, 70–1, 104, 109, Pleydenwurff, Wilhelm, 44 114, 125 Pliny the Elder, Feast of the Rose Garlands, 111, 170 interest in painting techniques, 6, Four Apostles theory of, 10 7, 211–12n62 St. Anthony before a City, 96–7, perspective, 211–12n62 211n55 rivalry between Virgin with the Pear, 127 Apelles/Protogenes, 117–18 Paumgartner Altarpiece, speed of execution, 118 description/technique used, 17 Pluviale (Plate V), illustration, 23f Bellini’s works and, 114–15, pictorial space, 124 Adoration of the Trinity and the All light/color of, 81, 90–3 Saints, 100, 108 Venetian inﬂuence on, 91–3 Durer’s¨ conception shift in, 78 pomegranate motif, 46, 48, 50 Innsbruck from the North, 100–2 Pond with Mill, Italian Castle, 102 dating of, 56 Italian Mountains, 102 illustration, 56f Knight, Death, and the Devil, 108 technique with, 92

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Portrait of a Clergyman (Johann Portrait of Erasmus, 36 Dorsch?), Portrait of Frederick the Wise, 36 illustration, 34f Portrait of Jacob Fugger the Rich, 23 underdrawing, 18, 23–4 Portrait of Johann Kleberger, Portrait of a Man, illustration, 35f illustration, 33f underdrawing description, 18–19, underdrawing, 18 24, 28–9, 36 Portrait of a Young Man, underdrawing of, 35f illustration, 25f Portrait of Michael Wolgemut, underdrawing, 18, 23, 193n47 illustration, 33f Portrait of a Young Venetian, underdrawing and, 18, 23 alleged Venetian influences on, 41 Portrait of Oswolt Krel, illustration, 24f description of, 52 underdrawing, 18, 23–4, 193n47 underdrawing, 17–18, 23 Portrait of Burkard von Speyer, Portrait of Philip Melancthon, 36 alleged Venetian influences on, 41 Portrait of Willibald Pirckheimer, 36 illustration, 43f Praying Man, Portrait of Emperor Maximilian I, drawing, 30f chain of the Order of the Golden lighting of, 81 Fleece and, 157, 158–9f, 160 preparatory drawings, dating of, 167–8 functions of, 82–3, 207n18–19 drawing, 150, 150f, 152, 154, 157 See also specific works drawing from life significance, 149, Protogenes/Apelles rivalry, 161, 163–4, 166–7 117–18 infrared reflectography studies, Pupila Augusta, 152–3, 156f city vista in, 164 linen use and, 152, 167 drawing, 94f, 95f multiple versions from preparatory pictorial space in, 93–7, 101, cartoon, 149, 152–4, 157, 160–1, 164 163–4, 168 Putto, offering to Margaret of Austria, illustration detail, 26f 151–2 underdrawing description, 86 painting/Nuremberg (Plate VIII), 151–4, 157, 160 Rabbit (Hoffmann), 51 painting/Vienna (Plate VII), Rhinocerus, 59 150––6f, 157, 160 Rudolf II, 173, 174 pomegranate motif and, 50 preparatory drawings for, 19, 149, Sacra Conversazioni, 41, 111 152–4, 157, 160–1, 163–4 Salvator Mundi, tracing overlay studies, 152–3, as damaged, 8, 9 154–5f illustration, 9f Venetian influences and, 149 overdrawing of, 36–7 woodcut, 151f problematic state of, 8–9, 190n26 Portrait of Emperor Maximilian I technical studies of, 8–9 (Strigel), 160–1, 162f technique with, 130

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Index

Salvator Mundi (cont.) pictorial space in, 93, 96–7, 101, underdrawing description, 17–18, 108, 164 84, 208n26 St. Barbara, 190n25 underdrawing of, 19f St. Eustachius, 215n16 as unfinished, 9, 190n25 St. Jerome, Sandrart, Joachim, 173–4, 227n2 alleged Venetian influences and, 44 San Zaccaria Altarpiece (Bellini/Plate attribution of, 53–4 VI), illustration, 49f description, 113 pictorial space in, 108 Durer’s¨ quotations from, 110, underdrawing description, 54, 112–15, 124–5 196n18 light and, 113 St. Jerome in the Wilderness, 54 Schedel, Hartman, St. Luke, 140, 167 Liber cronicarum, 60 Strabo, Walafrid, 146 Weltchronik, 58, 100 Strigel, Bernhard, 160–1, 167 Scheurl, Christoph, St. Sebastian on a Tree, 215n16 books by, 65–6, 70 Durer’s¨ travels, 68, 200n49 technical investigation of paintings, praise of Durer,¨ 65–6 before availability of, 6 Self-Portrait (1493), 215–16n17 current view of, 7 Self-Portrait (1498), of Durer’s¨ paintings, 8–12 authorship claim by Durer,¨ historical overview, 5–8 215–16n17 methods used in current study, description, 54 12–14, 16–19, 23–4, 28–9, 36–9 landscapes in, 100 underdrawings and, 8, 10, 12 underdrawing and, 17–18, 23–4 See also infrared reflectography; Self-Portrait (1500), X-radiography authorship claim by Durer,¨ Thausing, Moritz, 215–16n17 alleged Venetian trips (Durer),¨ description, 54 67–8, 69, 74 underdrawing and, 24, 28 conflict with Ephrussi, 68–9, Self-Portrait with Eryngium (1493), 54 201n65 Small Virgin, “Daz Ding,” 62–3 illustration, 14f Feast of the Rose Garlands, 111 infrared reflectography of, 15f portraits of Maximilian, 152 underdrawing description, 17–18, Virgin with the Pear, 127 84, 208n26 theory of imitation, 115–18, 216n24 Sorte, Cristoforo, 119 Three Orientals, 57–8 speed of execution, Tietze, Erica/Hans, Durer¨ and, 120–1, 123–4, 218n50 alleged Venetian trips (Durer),¨ in Renaissance art theory, 118–19, 69–70, 72, 74 218n48 Durer’s¨ watercolors, 55, 57 St. Anthony before a City, Feast of the Rose Garlands, 111 city in, 164, 210–11n52–53 Pluviale, 90, 210n48 engraving, 95f preparatory drawings, 82

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Index

Trattato (Lomazzo), 106–7 St. Anthony before a City, 93, 96–7, Tree, 56 101, 108, 164, 170 Two Musicians, underdrawings and, 80–1, 84–6 illustration, 20f Virgin with the Pear, 76, 126–7, underdrawing description, 17 129–30, 132, 139–40, 170 underdrawing of, 21f See also pictorial space Venetian trips (1505–7), 43, 169 underdrawings, Venetian trips (alleged/before 1505), connection to Old Testament, animal studies and, 58–9 144–8 bias against Durer¨ and, 74–6 investigative uses of, 8, 10, 12 documentary evidence, 62–7 overdrawing vs., 193n45 drawings/watercolors and, 55–9 underpainting vs., 192n40 Durer’s¨ watercolors and, 55–9 See also speciﬁc paintings German vs. Italian civilization and, 75–6 Van Eyck, Jan, 190n25 letters to Pirckheimer, 57, 62–3, Vasari, Giorgio, 64, 70, 73 coloristic perspective, 104–7 modern scholarship on, 69–73 “disegno”/“colore” partition, 1–2 nineteenth-century scholarship on, drawings on tinted paper, 87, 67–9 208n31 overview, 38–44, 74–6 Durer’s¨ abilities, 2–3 paintings and, 43–4, 46, 48, 50–4 imitation, 115 Panofsky on, 70–1 painting/religious metaphor, 147 paper availability and, 57, 197n22 speed of execution, 119 the plague and, 70, 72 transferring designs, 157 printed works and, 59–60, 62 Venetian inﬂuences, Venetians visiting Nuremburg and, Adoration of the Trinity and the All 44, 194–5n3 Saints, 126, 132–4, 139–40, 164, View of Bamberg (Katzheimer), 100 170 View of Kalchreuth, 104 Feast of the Rose Garlands, 41, 76, View of Trent, 77–8, 107–9, 110–11, 163–4, pictorial space in, 102, 104 169, 170 watercolor, 103f light/color studies, 89–90, 91–3 View of Ulm, 101 Martyrdom of the 10,000, 126, Virgin and Child with Angel, 132–3, 140, 170, 221n14 description, 164 overview, 3–5, 41, 76, 77–8, 169–71 drawing, 165f painterly vision of space, 93–8, Virgin Kardiotissa, 100–2, 104 description, 164 panel preparation, 78–80 illustration, 142f Pluviale, 91–3 Virgin of the Seven Sorrows, 17 Portrait of Emperor Maximilian I, Virgin with a Multitude of Animals, 149 preparatory drawings for, 81 preparatory drawings and, 80–4, technique with, 91 86–7, 149 Virgin with the Iris, 51

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Index

Virgin with the Pear (Plate IV), von Bruhl,¨ Graf Karl, 175 assessments of, 127 Von Farben (Durer),¨ 88–90, 105–6, derivation of the Christ Child, 107, 177–80 127 Votive Picture of Doge Agostino description, 126–7, 129–30, 132, Barbarigo (Bellini), 140 Durer’s¨ quotations from, 111–12, distinct techniques with, 126–7, 115 129–30, 132, 140, 170 illustration, 111f flesh depiction in, 130, 132–3, 140–1, 144, 147–8, 164, 222n18 Waagen, Gustav, 67, 175 infrared reflectograms of, 128f, Wehle, Henry, 8, 9 131f Weltchronik (Schedel), pear and, 127, 129 pictorial space in, 100–1 pictorial space in, 108 turbaned figures in, 58 preparatory drawings description, Whore of Babylon, 52, 58 132 Wire Pulling Mill, religious metaphor with, 141, 144, pictorial space in, 100–1 147–8 watercolor, 99f underdrawing description, 23, 52, Wolfflin,¨ Heinrich, 130, 221n11 alleged Venetian trips (Durer),¨ 69, Venetian influence on, 76, 126–7, 74 129–30, 132, 139–40, 170 Durer’s¨ watercolors, 55 Virgin with the Siskin, Wolgemut, Michael, 100 alleged Venetian influences on, 41 illustration, 42f X-radiography, trees in, 56 description, 16 Vita Reverendi patris Domini Anthonii historical use of, 5–6, 10 Kressen (Scheurl), 66 painting studies with (overview), von Breydenbach, Bernhard, 58 10, 16

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