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Albrecht Dürer Albrecht Dürer Albrecht Dürer HIS ART IN CONTEXT Edited by Jochen Sander With contributions by Katrin Dyballa, Erik Eising, Christian Feest, Karoline Feulner, Stephan Kemperdick, Hans Körner, Christof Metzger, Andrew Morrall, Ulrich Pfisterer, Almut Pollmer-Schmidt, Jochen Sander, Johann Schulz, Jeffrey Chipps Smith, Jeroen Stumpel, and Berit Wagner PRESTEL Munich · London · New York SPONSORED BY WITH ADDITIONAL SUPPORT FROM MARKETING AND MEDIA PARTNERS MOBILITY PARTNER Lenders AMSTERDAM, Rijksmuseum LISBON, Museu Nacional de Arte Antiga BAMBERG, Staatsbibliothek Bamberg LONDON, The British Museum BASEL, Historisches Museum Basel The National Gallery Kunstmuseum Basel Royal Collection Trust/HM Queen Elizabeth II BERLIN, Staatliche Museen zu Berlin, Ethnologisches Museum LOS ANGELES, The J. Paul Getty Museum Staatliche Museen zu Berlin, Gemäldegalerie LYON, Musée des Beaux-Arts de Lyon Staatliche Museen zu Berlin, Kupferstichkabinett MADRID, Museo Nacional del Prado Staatliche Museen zu Berlin, Skulpturensammlung Real Bibliotheca del Monasterio de San Lorenzo de El Escorial, und Museum für Byzantinische Kunst Patrimonio Nacional BRAUNSCHWEIG, Herzog Anton Ulrich-Museum MAINZ, Landesmuseum Mainz BREMEN, Kunsthalle Bremen – Der Kunstverein in Bremen MALMAISON, Musée National du Château de Malmaison CHATSWORTH, Trustees of the Chatsworth Settlement MUNICH, Bayerische Staatsbibliothek München COBURG, Kunstsammlungen der Veste Coburg Bayerische Staatsgemäldesammlungen, Alte Pinakothek COLOGNE, Wallraf-Richartz-Museum & Fondation Corboud Staatliche Münzsammlung München CONSTANCE, Städtische Wessenberg-Galerie Konstanz NAPLES, Soprintendenza Speciale per il Patrimonio Storico, Artistico DARMSTADT, Hessisches Landesmuseum Darmstadt ed Etnoantropologico e per il Polo Museale della città di Napoli, Universitäts- und Landesbibliothek Darmstadt Museo di Capodimonte DRESDEN, Sächsische Landesbibliothek – Staats- und Universitäts- NEW YORK, The Metropolitan Museum of Art bibliothek Dresden (SLUB) The Pierpont Morgan Library Staatliche Kunstsammlungen Dresden, Museum für Völkerkunde NUREMBERG, Germanisches Nationalmuseum Dresden OXFORD, The Ashmolean Museum ERLANGEN, Graphische Sammlung der Universität PARIS, Bibliothèque nationale de France FLORENCE, Istituti museali della Soprintendenza Speciale Fondation Custodia – Collection Frits Lugt per il Polo Museale Fiorentino, Gabinetto Disegni e Stampe Musée du Louvre, Département des Arts graphiques degli Uffi zi PRAGUE, Národní galerie v Praze FRANKFURT AM MAIN, Historisches Museum Frankfurt RIJKSWIJK /AMERSFOORT, Rijksdienst voor het Cultureel Erfgoed Museum Angewandte Kunst ROTTERDAM, Museum Boijmans Van Beuningen Universitätsbibliothek Johann Christian Senckenberg SCHWEINFURT, Sammlung-Otto-Schäfer-II GENOA, Musei di Strada Nuova, Palazzo Rosso STUTTGART, Staatsgalerie Stuttgart GOTHA, Stiftung Schloss Friedenstein Gotha VIENNA, Akademie der bildenden Künste Wien HAMBURG, Hamburger Kunsthalle Albertina Museum für Kunst und Gewerbe Hamburg Kunsthistorisches Museum Wien, Gemäldegalerie HANOVER, Gottfried Wilhelm Leibniz Bibliothek – Niedersächsische Kunsthistorisches Museum Wien, Münzkabinett Landesbibliothek Weltmuseum Wien Niedersächsisches Landesmuseum Hannover WASHINGTON, National Gallery of Art KARLSRUHE, Badisches Landesmuseum Karlsruhe WOLFENBÜTTEL, Herzog-August-Bibliothek Wolfenbüttel Staatliche Kunsthalle Karlsruhe KASSEL, Museumslandschaft Hessen Kassel, Gemäldegalerie Alte Meister LEIPZIG, Deutsches Buch- und Schriftenmuseum der Deutschen Nationalbibliothek GRASSI Museum für Angewandte Kunst, Leipzig and private collectors who wish to remain anonymous Contents 8 Sponsor’s Foreword 9 Sponsor’s Foreword MAX HOLLEIN 10 Foreword JOCHEN SANDER 14 Dürer in Frankfurt KAROLINE FEULNER 22 Tradition and Innovation: Dürer’s Goldsmith Training as a Foundation for His Printing Activity 26 CAT. NOS. 1.1–1.8 KATRIN DYBALLA 36 Dürer’s Early Years: Training and Travels 40 CAT. NOS. 2.1–2.26 HANS KÖRNER 74 Albrecht Dürer: The Apelles of Black Lines 80 CAT. NOS. 3.1–3.9 STEPHAN KEMPERDICK 92 “Rendered According to My Own Image”: Portraits and Self-Portraits 100 CAT. NOS. 4.1–4.13 ALMUT POLLMER-SCHMIDT 120 From All Sides: Man and Measurement in Dürer’s Work 126 CAT. NOS. 5.1–5.25 ANDREW MORRALL 168 Dürer and the Reception of His Art in Renaissance Venice 174 CAT. NOS. 6.1–6.15 CHRISTOF METZGER 194 “From the renowned good masters”: Albrecht Dürer’s Workshop 202 CAT. NOS. 7.1–7.10 JOCHEN SANDER AND JOHANN SCHULZ 218 “I will make something that not many men can equal.” Dürer and the Heller Altarpiece 224 CAT. NOS. 8.1–8.10 KAROLINE FEULNER 234 The Life of the Virgin: Marketed, Plagiarized, and Copyrighted 240 CAT. NOS. 9.1–9.12 JEROEN STUMPEL 250 Medium, Meaning, and Meisterstiche. An Essay on Dürer’s Art of Engraving 258 CAT. NOS. 10.1–10.12 BERIT WAGNER 276 Through the Eyes of the Related Arts: Dürer as Designer 280 CAT. NOS. 11.1–11.10 ALMUT POLLMER-SCHMIDT 294 Conjoined Twins, a Monstrous Pig, and a Rhinoceros. Dürer’s Broadsheets 298 CAT. NOS. 12.1–12.8 JEFFREY CHIPPS SMITH 308 Dürer in the Service of Princes and the Emperor 314 CAT. NOS. 13.1–13.14 ERIK EISING 332 Both Business and Pleasure: Albrecht Dürer’s Journey to the Netherlands 338 CAT. NOS. 14.1–14.17 CHRISTIAN FEEST 366 From Calicut to America: Albrecht Dürer and the “wondrous artificial things” from the “new golden land” 372 CAT. NOS. 15.1–15.7 ULRICH PFISTERER 376 Dürer in Discourse: Art Theories around 1500 and the Paths They Took North and South of the Alps 382 CAT. NOS. 16.1–16.8 388 Bibliography 398 Colophon 400 Photo Credits Sponsor’s Foreword uremberg’s universal genius Albrecht Dürer is known in par- shared and ongoing commitment to the promotion of art and culture, N ticular as a painter, draftsman, and printmaker. But Dürer was as well as by communication and educational eff orts. Support for more than that—he was an artist who strove to get to the bottom museum programs is one aspect of the many-sided social engagement of things. This led him to engage in research into art, art theory, and of the German Savings Banks Association/Deutscher Sparkassen- und techniques of perspective. From his hand come the most important Giroverband, within which cultural sponsorship represents a very early studies of plants, animals, and landscapes—all of them great special priority. We regard art and culture as necessary and vital works of art, despite their emphasis on precision. Dürer poured all of resources for society, which must not be merely preserved, but also his passion into these works. Thanks to his artistic genius and versatil- actively supported. ity, Dürer would become the most important and celebrated Renais- By sponsoring such outstanding exhibitions as Dürer: His Art in sance artist this side of the Alps. Context, but also in the framework of long-term and wide-ranging The approximately 190 works by Dürer that are being presented collaborations with major art institutions such as the Staatliche by the Städel Museum in this exhibition testify to the multiplicity of Mu seen zu Berlin and the Staatliche Kunstsammlungen Dresden, the expressive possibilities available to this “German master.” From panel German Savings Banks Association/Deutscher Sparkassen- und Giro- paintings and works on canvas all the way to the books he wrote and verband is itself able to make a signifi cant contribution to society by illustrated, these works not only highlight Dürer’s extraordinary cre- safeguarding the marvelous cultural heritage that is present in Germany. ative powers, but also showcase his fundamental contribution to the As a cultural partner and sponsor of this exhibition, we hope that formation of the art of the Renaissance and northern Europe. these works by Dürer will be seen and enjoyed by a large number of The German Savings Banks Association/Deutscher Sparkassen- und art enthusiasts. Giroverband is de lighted to sponsor the Dürer exhibition at the Städel Museum, one of the most prestigious museums in Germany, and an institution that transmits a wide-ranging overview of 700 years of Euro- GEORG FAHRENSCHON pean art history. The German Savings Banks Association/Deutscher President of the German Savings Banks Association/ Sparkassen- und Giroverband and the Städel Museum are joined by our Deutscher Sparkassen- und Giroverband 8 Sponsor’s Foreword ith this major exhibition on Albrecht Dürer, the Städel text. The downsides that inevitably accompanied such huge successes W Museum focuses on the multifaceted oeuvre of the diff ered little from those experienced today: as a businessman, Dürer Renaissance artist par excellence, one whose achievement encom- suff ered signifi cant losses as a result of acts of plagiarism. In the con- passes not just paintings, drawings, and prints, but also illustrated text of one such incident, for example, Dürer seems to have come into texts on art theory, including treatises on painting, human proportions, confl ict with the Italian engraver Marcantonio Raimondi, through which and perspective. It may have been primarily his unbridled ambition—a the German artist not only suff ered revenue losses, but even worse, trait recognizable already in his younger years—that allowed him perceived the unauthorized copies as a threat to the integrity of his art. to become a celebrated artist throughout Europe even during his His forged initials, his “logo,” were also found on so many low-quality lifetime. Visits to Northern Italy and the Netherlands broadened Dürer’s prints that his reputation was endangered—fi nally, the Nuremberg
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