Albrecht Durer and the Uses of the Visual in Early Modern , c. 1450-1600

Professors Ulinka Rublack and Sachiko Kusukawa, Drs Spike Bucklow and Lucy Wrapson

Few periods are as exciting as and Germany in visual terms. was a new medium, and German skill in creating printed images cutting edge. Innovation was everywhere – in terms of subjects, such as the selfie, witches or the depiction of new world inhabitants, as well as technologies, such as light-weight armour or extraordinary male fashion. Cabinets of curiosities became the most fashionable way to engage with the visual, and courts spent extraordinary sums of money to buy coconut or corals. The very first treatise on collecting for such cabinets was authored at the end of our period in Germany, and its analysis will also end our course.

The first part of this year’s course will particularly focus on Albrecht Dürer, one of the most innovative and creative artists of all times. We will collaborate with Dr Spike Bucklow and Dr Lucy Wrapson at the Hamilton Kerr Institute of conservation and have the unique opportunity to spend several sessions out in the Institute´s idyllic setting in an old mill in Whittlesford to recreate some of the steps Dürer himself would have undertaken to paint. The point of this exercise is to gain a better understanding of a Renaissance painter´s time, skill and his self-representation through reworking some of his processes. You do not need any artistic at all.

For the rest of the course we will follow in part Michael Baxandall’s groundbreaking attempts to root an analysis of the visual in the contexts of production, the materiality of media and particular visual logic of the time, as well as the individual contribution of particular artists. As Baxandall showed, any attempt to recover the visual conventions of early modern Germany must draw on a wide range of historical sources, as there is little overt critical writing on at the time. We will also integrate anthropological approaches to visual culture. These attend to the ways in which images and artefacts emerge out of particular human encounters and modes of production, which have a bearing on their meaning, as well as on how images and objects are exchanged, invested with value, and displayed. We will explore the responses different images and objects elicited and explore the role of the artist in society.

The course can draw on well known compilations of source material. In addition it can now rely on several recently edited or digitalised bodies of material. We will moreover use the extraordinary resources at hand in our local collections such as the Fitzwilliam to study original prints and drawings by some of-the most famous and self- searching artists of all times. Gobbets will be drawn from a mixture of visual and textual sources. Translations for all languages other than English will be provided for all class material. There will be a particular focus on the art of Albrecht Dürer, his disciple Baldung Grien, Lucas Cranach, and . You do not need to have previously studied or German and German history to enjoy this course, but should be passionate about art.

This Special aims to be as interactive as possible. It uses a highly developed Moodle site with links to texts, digital resources, films, images and extensive bibliographies which can inform work on Long Essays. Different formats of teaching styles, group work and exercises will be integrated in sessions to make them varied and fun.

There will be a two-hour seminar on Tuesdays and one-hour seminar on Thursdays during Michaelmas Term, which allows us to visit collections and study at the Hamilton Kerr Institute for three sessions. We will learn to prepare a canvas, make varnish, and gain an understanding of what it meant to paint in oil and in layers. The format of a two-hour seminar on Tuesdays and one-hour seminar on Thursdays will continue in the Lent Term. In-depth gobbet practice for the exam is integrated early on in course, and will be the focus of four two-hour revision sessions in Easter Term.

All costs for the three visits to the Hamilton Kerr Institute will be covered, but you will need to allow for a little extra time to travel on these Tuesday mornings.

The moodle site hosts a detailed, up-to-date bibliography, but the below indicates some of the scope of the course.

In case we can only teach remotely, the practical component of the Visual Special Subject will be turned into online demonstrations and power-points.

General bibliography:

Obligatory introductory, to be read in advance: Chipps Smith, J., The Northern Renaissance (2004).

General bibliography: Bredekamp, H., ‘A Neglected Tradition? Art History as Bildwissenschaft’, Critical Inquiry 29 (2003), 418-428. Daston, L., ‘Introduction: The Coming into Being of Scientific Objects’, in Biographies of Scientific Objects, ed. L. Daston (2000), 1-14. Farago, C., ed., Reframing the Renaissance: Visual culture in and Latin America 1450-1650 (1995). Johnson, C., The German Discovery of the World. Renaissance Encounters with the Strange and Marvelous (2008). Kaufmann, T. da Costa., Court, Cloister and City: The Art and Culture of Central Europe (1995). Kusukawa, S. Picturing the Book of Nature: Image, Text, and Argument in Sixteenth-Century Human Anatomy and Medical Botany (2012). Haskell, F., History and its Images: Art and the Interpretation of the Past (1993). Moxey, K., ‘Visual Studies and the Iconic Turn’, Journal of Visual Culture, 7 (2008), 131-146. Nash, S., Northern , (2008). Nelson, R. S., Visuality before and after the Renaissance: seeing as others saw (2000). Rowlands, J., The Age of Dürer and Holbein: German Drawings 1400-1550 (1988). Rublack, U, Dressing Up: Cultural Identity in Renaissance Europe (2010). Scott, T., Society and Economy in Germany, 1300-1600, (2002). Silver, L., and Wyckoff, E. eds., Grand Scale. Monumental Prints in the Age of Dürer and (2008). Turner, J., The Dictionary of Art, 34 vols (1996), esp. entries on , Fugger family, German . Wood. C., and the Origins of Landscape (1993).

Specific themes:

Maximilian I: Primary: The Adventures of the Knight Theuerdank: The complete coloured facsimile of the 1517 edition, ed. S. Füssel (2002). Triumph of Emperor Maximilian, A. v. Bartsch (2008 ed.). Kaiser Maximilians I Weisskunig, ed. T. Musper (1956). ’s broadsheet of Maximilian on horseback. Coloured and non- coloured.

Secondary: Benecke, G., Maximilian I 1459-1519: An Analytical Biography (1982). Campbell, S. ed., Artists at Court: Image-Making and Identity 1300-1550 (2004). Geertz, C., ‘Ideology as Cultural System’, in: Interpretation of Cultures (1973), 192- 233. Keen, M., Chivalry (1984). Landau, D., and Parshall, P., The Renaissance Print: 1470-1550 (1994), ch. 2 and 169-236. Silver, L., Marketing Maximilian: The Visual ideology of a Holy Roman Emperor (2008). Silver, L., Wyckoff, E., eds., Grand Scale. Monumental Prints in the Age of Dürer and Titian (2008), ch. by Silver on Triumphs. Tennant, E. C., ‘"Understanding with Eyes": the visual gloss to Maximilian's Theuerdank.’ in Entzauberung der Welt: deutsche Literatur 1200-1500, ed. J. F. Poag and T. C. Fox. (1989). Comparative: Cellini, Benveuto, Autobiography, extracts on working for the Pope and for Francis I. Knecht, R.J., Renaissance Warrior and Patron: The Reign of Francis I, Cambridge (1994), chs. 21-22. Soly, H., Charles V 1500-1558 and his Time (2000).

Cranach and the Saxon Court: Primary: Selected Cranach religious and secular and broadsheets; Contracts between Cranach and the Saxon court in translation

Secondary: Cat. of the Royal Academy exhibition 2008. Cat. of the Dürer-Cranach exhibition 2008. Heydenreich, G., : Painting Materials, Techniques and Workshop Practices (2007) – this is a landmark in the study of workshop production and includes extensive textual primary material. Scribner, R.W., Religion and Culture in Germany (1400-1600) (2001), ch. 5. M. J. Friedländer, The paintings of Lucas Cranach (1978)

Albrecht Dürer: Primary: Diary of his journey to the Netherlands. 1520-21: accompanied by the silverpoint sketchbook, and paintings and drawings made during his journey, tr. and intro. J.-A. Goris and G. Marlier( 1971). The complete paintings of Dürer, ed. A. O. della Chiesa (1971) The complete , etchings and drypoints of Albrecht Dürer, ed. W.L. Strauss (1972). The complete of Albrecht Dürer, ed. W. Kurth (1963). Dürer drawings in the Albertina, ed. W. Koschatzky and A. Strobl, tr. H. and A. Grieve (1971). Picture Database, Albertina, at: http://gallery.albertina.at/eMuseum/code/emuseum.asp Bartrum, G., Albrecht Dürer and his legacy: the graphic work of the Renaissance artists (2002). Sketchbook of the journey to the Netherlands (1520-1521), tr. P. Troutman, ed. E. Schilling (1968). Koreny, F., Albrecht Dürer and the animal and plant studies of the Renaissance, tr. P. Marwood and Y. Shapiro (1988). Bialostocki, J., Dürer and His Critics, 1500-1971: Chapters in the History of Ideas, Including a Collection of Texts (1986).

Secondary Campbell Hutchinson, J., Albrecht Dürer: A Biography (1990). Clarke, T. H., The Rhinoceros from Dürer to Stubbs 1515-1799 (1986). Garin, E., ed., Renaissance Characters (1991), ch. 7. Villari, R., ed., Personae (1995), ch.11. Eichberger, D. and C. Zika, eds., Dürer and his culture (1998). Koerner, J. L., The moment of Self-portraiture in art (1993). Hayum, A., ‘Dürer's Portrait of Erasmus and the Ars Typographorum’, Renaissance Quarterly 38 (1985):650-87. Parshall, P. W., ‘Camerarius on Dürer- Humanist Biography as ’, Joachim Camerarius (1500-1574): Beitrage zur Geschichte des Humanismus im Zeitalter der Reformation, ed.F. Baron (1978). Panofsky, E., The Life and Art of Albrecht Dürer (1943, 1971), 2005 ed. Preferred, with foreword by J.J. Chipps Smith. Panofsky, E., ‘Nebulae in Pariete": notes on Erasmus' eulogy on Dürer’, Journal of the Warburg and Courtauld Institutes 14 (1951):34-41. Lynch, T.., ‘The geometric body in Durer's Melancholia I’, Journal of the Warburg and Courtauld Institutes (1982), 226-32. Peiffer, J., ‘Projections embodied in technical drawings: Dürer and his followers’, in Picturing machines 1400-1700, ed. W. Lefèvre (2004) Price, D., ‘Albrecht Dürer's representations of faith: the church, lay devotion and veneration in the (1498)’, Zeitschrift für Kunstgeschichte 57 (1994):688-96. Price, D., ‘The Reformation of the Bible and an artist: sacred philology and Albrecht Dürer’, in The construction of textual authority in of the medieval and early modern periods, ed. J. F. Poag and C. Baldwin (2001). Schmid, W., Dürer als Unternehmer: Kunst, Humanismus und Ökonomie in Nürnberg um 1500 (2003).. Scribner, R. W., “Ways of seeing in the age of Dürer,” in Dürer and his culture, ed. D. Eichberger and C. Zika (1998). Silver, L., and P. H. Smith, ‘Splendor in the Grass: The Powers of Nature and Art in the Age of Dürer’, in Merchants and Marvels: Commerce and the Representation of Nature in Early Modern Europe, ed. P. Smith and P. Findlen (2002).

Nuremberg: Cat., Wenzel Jamnitzer und die Nürnberger Goldschmiedekunst 1500-1700; Catalog of the Germanisches Nationalmuseum, Nuremberg (1985). Cat., Gothic and Renaissance art in Nuremberg, 1300-1550 (1986). Cat., Chipps Smith, J., ed., Nuremberg, a Renaissance city, 1500-1618 (1983). Chipps Smith, J., New perspectives on the art of Renaissance Nuremberg: five essays (1985). Gouk, P., The Ivory Sundials of Nuremberg 1500-1700 (1988). Parshall, P., R. Schoch, D. S. Areford, R. S. Field, and Peter Schmidt, Origins of European : fifteenth-century woodcuts and their public (2005). Moxey, K., Peasants, Warriors and wives: Popular Imagery in the Reformation Chicago (1989). Mundy, B. E., ‘Mapping the Aztec Capital: The 1524 Nuremberg map of Tenochtitlan, its sources and meanings’, Imago Mundi 50 (1998). Schnelbögl, F., ‚Life and work of the Nuremberg cartographer Erhard Etzlaub (d.1532)’, Imago Mundi 20 (1966). Seaver, K. A., ‘Norumberga and Harmonia Mundi in sixteenth-century cartography’, Imago Mundi 50 (1998). Smith, P. H., The Body of the Artisan: Art and Experience in the (2004), ch.2. Smoller, L., ‘Playing cards and popular culture in sixteenth-century Nuremberg’, Sixteenth Century Journal 17 (1986). Stewart, A., ‘Paper festivals and popular entertainment: the Kermis woodcuts of Sebald Beham in Reformation Nuremberg’, Sixteenth Century Journal 24 (1993). Strauss, G., Nuremberg in the sixteenth century (1966). Strauss, G., ‘A sixteenth-century encyclopaedia: Sebastian Münster's Cosmography and its editions’, in From the Renaissance to the Counter-Reformation: essays in honour of Garrett Mattingly, ed. C. H. Carter, 1966.

Augsburg Primary: We will focus on the work of Jörg Breu and his followers. Breu was one of the few early modern artists to keep a (fascinating) chronicle, and selections from it will be analysed in translation. We will also examine the patronage of the Fugger merchant family, and use letters by Hans Fugger, who dealt with a wide range of art and objects, in translation, as well as excerpts from the diary of the architect Elias Holl. Die Augsburger Monatsbilder. Geschlechtertänze. Ehrenbuch der Fugger – also available online at http://www.bayerische- landesbibliothek-online.de/fuggeren. Cat., Welt im Umbruch. Augsburg zwischen Renaissance und Barock (1980), 2 vols. Examples of Augsburg armour and goldsmiths’ work. Cat., Silver and gold: courtly splendour from Augsburg, ed. L. Seelig, tr. E. Clegg (1995). Petrarchmaster, Selected De remediis woodcuts. images also in W. Scheidig, Die Holzschnitte des Petrarca-Meisters: zu Petrarcas Werk Von der Artzney bayder Glück des guten und widerwärtigen, Augsburg, 1532 (1955). Cf. A. Séguenny, J. Rott and F. Muller, Bibliotheca dissidentium: répertoire des non- conformistes religieux des seizième et dix-septième siècles, vol. 21, Artistes dissidents dans l'Allemagne du seizième siècle: Lautensack, Vogtherr, Weiditz, (2001).

Secondary: Cuneo, P., Art and Politics in Early Modern Germany: Jörg Breu the Elder and the Fashioning of Political Identity ca 1475-1536 (1998). Morrall, A., Jörg Breu the Elder: Art, Culture and Belief in Renaissance Augsburg (2001). Roper, L., The Holy Household: Discipline and Morals in Reformation Augsburg (1989), chs 1-2. On the Fugger: M. A. Meadow, ‘Hans Jacob Fugger and the Origins of the Wunderkammer’, in P. H. Smith and P. Findlen, eds, Merchants and Marvels: Commerce, Science and Art in Early Modern Europe (2002)). Gorgas, M., ‘Animal Trade between India and Western Eurasia in the Sixteenth Century - the Role of Fuggers in Animal Trading', in Indo-Portuguese Trade and the Fuggers of Germany: Sixteenth Century, ed. by K. S. Mathew (1999).

Religious Visual Cultures: Primary: Selected Reformation Title-pages and Propaganda, via the Lutherdatenbank, at http://diglib.hab.de/edoc/ed000007/start.htm; Cambridge University Library, rare books and selected broadsheets Andersson, C., Talbot, C. eds., From a Mighty Fortress: Prints, Drawings, and Books in the Age of Luther 1483-1546 (1983) Luther, Karlstadt and the commune of Orlamünde on images and iconoclasm, in R. S. Scribner, and Pamela Johnston, eds., The Reformation in Germany and Switzerland (1993).

Secondary: Chipps Smith, J., Sensuous Worship: The Jesuits and the Art of the Early Catholic Reformation in Germany (2002). Chipps Smith, J., ‘Verbum Domini Manet in Aeternum: Medal Designs by Sebald Beham and the Reformation in the Duchy of Saxony’, Anzeiger des Germ. Nationalmuseums (1987), 205-226. Chipps Smith, J., ‘From Catholic Dukes to Protestant Electors: Albertine Ideological Imagery and the Cathedral of Freiberg in Saxony’, Proceedings of the AHA (1990), 119-128. Chipps Smith, J., German Sculpture of the later Renaissance, c.1520-1584: Art in an Age of Uncertainty (1994). Christensen, C. G., Art and the Reformation in Germany (1979), ch.1. Clark, S., Vanities of the Eye: Vision in Early Modern European Culture (Oxford: Oxford University Press, 2007), ch.5. Hamburger, J., The Visual and the Visionary: Art and Female Spirituality in Late Medieval Germany (1998). Harbison, H., The Mirror of the Artist: Northern Renaissance Art in Its Historical Context (1995). Heal, B., The Cult of the Virgin Mary in early Modern Germany: Protestant and Catholic Piety (2007). Koerner, J.L. , The Reformation of the Image (2004). Michalski, S., The Reformation and the Visual (1993). Pettegree, A., Reformation and the Culture of Persuasion, ch. on Lutheran images. Scribner, R.W., For the Sake of the Simple Folk (1994). Wandel, L. P, Voracious Idols and Violent Hands: Iconoclasm in reformation Zurich, and Basel (1995). Zapalac, K.E.S., “In His Image and Likeness”: Political iconography and religious Change in Regensburg, 1500-1600 (1990).

Visualising the Self: Primary: Die Augsburger Monatsbilder. Augsburg Geschlechtertänze. Grosses Tucherbuch (CD-Rom 2004) Depictions of artisans and their trades in the books of the Mendelsche Zwölfbrüderstiftung, searchable in English at http://www.nuernberger- hausbuecher.de/index.php?do=page&mo=8. Matthäus Schwarz, Book of his Clothes (Klaidungsbüchlein), ed. by A. Fink (1963). Portraits by the Augsburg painter Christoph Amberger; contracts and letters by him in translation. Cat., Christoph Amberger : Bildnismaler zu Augsburg : städtische Eliten im Spiegel ihrer Porträts, ed. Annette Kranz (2004).

Secondary: Koerner, J. L., The Moment of Self-Portraiture (1993). Mann, N. and Syson, L. eds., The Image of the Individual: Portraits in the Renaissance (1998) Woods-Marsden, J., Renaissance self-portraiture: the visual construction of identity and the social status of the artist (1998).

Encoding Sexual Difference:

Primary Material from Geissberg/Strauss ed., The German Single-Leaf Woodcut, 6 vols. Images of Landsquenets Portraits and Medals Cat., Stephen K. Scher, The Currency of Fame: Portrait Medals of the Renaissance (1994), for comparison. Cat., Emblems of Eminence : German Renaissance Portrait Medals ; the Age of Albrecht Dürer ; the Collection of an Art Connoisseur, Peter Volz, and Hans Christoph Jokisch, eds., trans. Andrew Jenkins (, 2008). Hans Sachs, with Amman, Jost, The Book of Trades, Ständebuch. trans. A. Rifkin (New York, 1973).

Secondary: Clark, S., Vanities of the Eye: Vision in Early Modern European Culture (2007), ch. 4. Roper, L., The Holy Household: Discipline and Morals in Reformation Augsburg (1989), chs 2-5. Koerner, J. L., The Moment of Self-Portraiture in German Renaissance art (1993)., chs.8, 12. Hale, J.R., Artists and Warfare in the Renaissance (1990), chs. 1-2, 4-5. Moxey, K., Peasants, Warriors and Wives: Popular Imagery in the Reformation Chicago (1989), chs 3-5. Stephen K. Scher, ed., Perspectives on the Renaissance Medal (New York: Garland, 2000). Scribner, R.W., Religion and Culture in Germany (1400-1600), (2001), ch. 5. Zika, C., The Appearance of : Print and Visual Culture in Sixteenth- Century Europe (2007). Zika, C., ‘Cannibalism and witchcraft in early modern Europe: reading the visual images’, History Workshop Journal, 44 (1997), 77-105.