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Albrecht Dürer's “Oblong Passion”

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Albrecht Dürer's “Oblong Passion” ALBRECHT DÜRER’S “OBLONG PASSION”: THE IMPACT OF THE REFORMATION AND NETHERLANDISH ART ON THE ARTIST’S LATE DRAWINGS by DANA E. COWEN Submitted in partial fulfillment of the requirements For the degree of Doctor of Philosophy Dissertation Adviser: Dr. Catherine B. Scallen Department of Art History and Art CASE WESTERN RESERVE UNIVERSITY January, 2014 CASE WESTERN RESERVE UNIVERSITY SCHOOL OF GRADUATE STUDIES We hereby approve the thesis/dissertation of Dana E. Cowen ______________________________________________________ Doctor of Philosophy candidate for the ________________________________degree *. Catherine B. Scallen (signed)_______________________________________________ (chair of the committee) Jon L. Seydl ________________________________________________ Holly Witchey ________________________________________________ Erin Benay ________________________________________________ 4 November 2013 (date) _______________________ *We also certify that written approval has been obtained for any proprietary material contained therein. This dissertation is dedicated to my parents, Nancy and John, and to my brother Mark Table of Contents Table of Contents i List of Figures ii Acknowledgements xi Introduction 1 Chapter One 23 Albrecht Dürer in the Netherlands, 1520 to 1521: The Diary and Works of Art Chapter 2 58 Dürer and the Passion: The “Oblong Passion” and its Predecessors Chapter 3 111 Dürer, Luther, and the Reformation: The Meaning of the “Oblong Passion” Chapter 4 160 The “Oblong Passion” Drawings and their Relationship to Netherlandish Art Conclusion 198 Appendix 1: 204 Martin Luther. “Ein Sermon von der Betrachtung des heiligen Leidens Christi” (A Sermon on Meditating on the Holy Passion of Christ), 1519 Appendix 2: 209 The Adoration of the Magi Appendix 3: 219 The Progression of Scholarship on Fifteenth- and Sixteenth-Century Netherlandish and German Drawings from the Late Nineteenth-Century to the Present Figures 233 Bibliography 372 i List of Figures Fig. 1 Dürer, The Last Supper, 1523, pen and black ink, 227 x 329 mm. Vienna, Graphische Sammlung Albertina, W. 889 233 Fig. 2 Dürer, The Agony in the Garden, 1520, pen and brown ink, 206 x 274 mm. Karlsruhe, Staatliche Kunsthalle, W. 797 234 Fig. 3 Dürer, Agony in the Garden, 1521, pen and brown ink, 208 x 294 mm. Frankfurt, Städelsches Kunstinstitut, W. 798 235 Fig. 4 Dürer, Agony in the Garden, undated, c. 1521, pen and brown ink, 161 x 168 mm. Berlin, Kupferstichkabinett, W. 803 236 Fig. 5 Dürer, Agony in the Garden, 1524, pen and greyish ink, 212 x 292 mm. Frankfurt, Städelsches Kunstinstitut, W. 891 237 Fig. 6 Dürer, Christ Carrying the Cross, 1520, pen and ink, 209 x 286 mm. Florence, Galleria degli Uffizi, 1078E, W. 793 238 Fig. 7 Dürer, Christ Carrying the Cross, 1520, pen and brown ink and black ink, 210 x 285 mm. Florence, Galleria degli Uffizi, 1077E, W. 794 239 Fig. 8 Dürer, The Bearing of the Body, 1521, pen and brown ink, 211 x 298 mm. Nuremberg, Germanisches Nationalmuseum, W. 796 240 Fig. 9 Dürer, The Bearing of the Body, 1521, pen and brown ink on yellowish paper, 206 x 289 mm. Florence, Galleria degli Uffizi, W. 795 241 Fig. 10 Dürer (workshop of ?), The Bearing of the Body, 1521, pen and brown ink, 145 x 271 mm. Frankfurt, Städelsches Kunstinstitut, W. 799 242 Fig. 11 Dürer, The Adoration of the Magi, 1524, pen and ink, left half in greyish ink, right half in black ink, 214 x 292 mm. Vienna, Graphische Sammlung, W. 892 243 Fig. 12 Dürer, The Last Supper, 1523, woodcut, 21.3 x 30.1 cm. B. 53 244 Fig. 13 Albrecht Altdorfer, Wild man carrying an uprooted tree, 1508, pen and black ink, heightened with white, on red-brown prepared paper, London, British Museum 245 Fig. 14 Hans Baldung Grien, Defecating Woman, 1513, red chalk, Berlin, Kupferstichkabinett 246 ii Fig. 15 Dürer, Head of Dead Christ, 1503, charcoal, 31 x 22.1 mm. London, British Museum, W. 272 247 Fig. 16 Dürer, Lamentation beneath the Cross, 1521, pen and brown ink, 290 x 210 mm. Cambridge, Fogg Art Museum, W.881 248 Fig. 17 Dürer, The Crucifixion, 1521, pen and brown ink, 323 x 223 mm. Vienna, Albertina Graphische Sammlung, W. 880 249 Fig. 18 Dürer, The Lamentation, 1522, Silverpoint, or chalk, 293 x 416 mm. Bremen, Kunsthalle, W. 883 250 Fig. 19 Dürer, The Four Holy Men, 1526, oil on panel, Munich, Alte Pinakothek 251 Fig. 20 Dürer, Saint Christopher Facing to the Left, 1521, engraving, B. 51 252 Fig. 21 Dürer, Saint Christopher Facing to the Right, 1521, engraving, B. 52 253 Fig. 22 Dürer, Virgin with the Swaddled Child, 1520, engraving, B. 38 254 Fig. 23 Dürer, The Temptation of Saint Anthony, 1521, metalpoint with white highlighting on green prepared paper, 316 x 426 mm. Vienna, Albertina Graphische Sammlung, W. 884 255 Fig. 24 Dürer, The Cathedral at Aachen, 1520, metalpoint on faded pink prepared paper, 126 x 177 mm. London, British Museum, W. 763 256 Fig. 25 Dürer, Rodrigo d’Almada, 1521, black pencil with white highlights on paper with a grey-violet ground, Berlin, Kupferstichkabinett, W. 813 257 Fig. 26 Dürer, Lazarus Ravensburger and the Tower of the Van Liere Residence in Antwerp, 1520, silverpoint on white prepared paper, Berlin, Kupferstichkabinett, W. 774 258 Fig. 27 Dürer, Erasmus, 1520, charcoal, Musée de Louvre, Paris, W. 805 259 Fig. 28 Dürer, View of Bergen op Zoom, 1520, Silverpoint, Chantilly, Musée Condé, W. 768 260 Fig. 29 Dürer, Caspar Sturm, The Imperial Herald and Landscape, 1520, silverpoint, Chantilly, Musée Condé, W. 765 261 Fig. 30 Dürer, Harbor of Antwerp Near the Scheldt Gate, 1520, pen and ink, 213 x 283 mm. Vienna, Albertina Graphische Sammlung, W. 821 262 iii Fig. 31 Dürer, The Royal Gardens at Brussels, 1520, pen and brown ink, Vienna, Akademie der Künste, W. 822 263 Fig. 32 Dürer, Captain Felix von Hungersperg, Kneeling, 1521, pen and brown ink, 278 x 208 mm. Vienna, Albertina Graphische Sammlung, W. 819 264 Fig. 33 Dürer, Portrait of Christian II of Denmark, 1521, charcoal, 399 x 287 mm. London, British Museum, W. 815 265 Fig. 34 Dürer, Saint Jerome, 1521, oil on oak, Lisbon, Museu nacional de Arte Antigua 266 Fig. 35 Dürer, Portrait of Bernard van Reesen, 1521, oil on panel, Dresden, Gemäldegalerie 267 Fig. 36 Dürer, The Portrait of Rodrigo de Almada, 1520-21, oil on panel, Boston, Isabella Stewart Gardner Museum 268 Fig. 37 Dürer, Portrait of a Man (possibly the Treasurer Lorenz Sterk), 1521, oil on panel, Madrid, Museo del Prado 269 Fig. 38 Dürer, Portrait of Jobst Plankfelt’s Wife, 1521, oil on panel, Ohio, Toledo Museum of Art 270 Fig. 39 Dürer, Crucifixion, Large Passion, 1497, woodcut, B. 11 271 Fig. 40 Dürer, Resurrection, Large Passion, 1510, woodcut, B. 15 272 Fig. 41 Dürer, Expulsion from Paradise, Small Passion, 1510, woodcut, B. 18 273 Fig. 42 Dürer, Christ Taking Leave of his Mother, Small Passion, c. 1508-09, woodcut, B. 21 274 Fig. 43 Dürer, Christ’s Entry into Jerusalem, Small Passion, c. 1508-09, woodcut, B. 22 275 Fig. 44 Dürer, Deposition (Descent from the Cross), Small Passion, c. 1509-10, woodcut, B. 42 276 Fig. 45 Dürer, Lamentation, Small Passion, c. 1509-10, woodcut, B. 43 277 Fig. 46 Dürer, Entombment, Small Passion, c. 1509-10, woodcut, B. 44 278 Fig. 47 Dürer, Pilate Washing his Hands, Engraved Passion, 1512, engraving, B.11 279 Fig. 48 Dürer, Agony in the Garden, 1515, pen and dark brown ink, 296 x 221 mm. Vienna, Albertina Graphische Sammlung, W.585 280 iv Fig. 49 Dürer, Agony in the Garden, 1515, Pen and light brown ink, Musée de Louvre, Paris, W. 584 281 Fig. 50 Dürer, Agony in the Garden, 1515, pen and light bistre, 254 x 183 mm. Vienna, Albertina Graphische Sammlung, W. 598 282 Fig. 51 Dürer, Agony in the Garden, 1518, pen and light brown ink, Musée de Louvre, Paris, W. 586 283 Fig. 52 Dürer, Agony in the Garden, 1515, etching, B. 19 284 Fig. 53 Dürer, Lamentation, 1519, pen and grey ink, 31. 5 x 21.3 cm. W. 587 285 Fig. 54 Dürer, Christ Carrying the Cross, Large Passion, 1498, woodcut, B. 10 286 Fig. 55 Dürer, Christ Carrying the Cross, Green Passion, 1504, pen and brush, heightened with white and shaded with black washes, on green-grounded paper, Vienna, Albertina Graphische Sammlung, W. 310 287 Fig. 56 Dürer, Christ Carrying the Cross, Small Passion, 1509, woodcut, B. 37 288 Fig. 57 Dürer, Christ Carrying the Cross, Engraved Passion, 1512, engraving, B. 12 289 Fig. 58 Dürer, Christ Carrying the Cross, without date or monogram, dated to 1511, pen and ink, Vienna, Albertina Graphische Sammlung, W. 580 290 Fig. 59 Dürer, Agony in the Garden, c. 1508-09, woodcut, B. 54 291 Fig. 60 Dürer, Agony in the Garden, Large Passion, c. 1497, woodcut, B. 6 292 Fig. 61 Dürer, Agony in the Garden, Small Passion, c. 1510, woodcut, B. 26 293 Fig. 62 Dürer, Agony in the Garden, Engraved Passion, 1508, engraving, B. 4 294 Fig. 63 Dürer, Agony in the Garden, 1515, etching, B. 19 295 Fig. 64 Dürer, Agony in the Garden, 1515, pen and dark brown ink, 296 x 221 mm. Vienna, Albertina Graphische Sammlung, W.585 296 Fig. 65 Dürer, Agony in the Garden, 1515, pen and light brown ink, Musée de Louvre, Paris, W. 584 297 Fig. 66 Bearing of the Body, 2nd half of the 9th century, Constantinople, Manuscript Illumination, Chludov Psalter, Moscow, State Historical Museum 298 v Fig. 67 Bearing of the Body and Deposition, c. 867-86. Constantinople, Manuscript Illumination, Homilies of Gregory of Nazianzus, Paris, Bibliothèque Nationale, Cod. Gr. 510 299 Fig. 68 The Entombment, detail of the Apron of a Tuscan Dugento Cross, Florence, Accademia 300 Fig. 69 Mantegna. Entombment, c. 1470-75, engraving and drypoint, H.
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