The complete engravings, etchings, and drypoints of Albrecht by Albrecht Durer, Walter L. Strauss
By Albrecht Durer, Walter L. Strauss
Albrecht Dürer's ninety six engravings, six etchings, and 3 dynamic drypoints are counted between his best and best-known works. via the very nature of the medium, each one tremendous line of an engraving is managed by means of the artist and relies on the strain of the burin in his hand. within the engravings, Dürer was once for that reason capable of in attaining an exceptional intricacy of element, subtlety of line, and three-dimensionality.
All a hundred and five of Dürer's works in those 3 mediums are reproduced during this version. between them are his most renowned works, "Knight, demise and Devil," "Melencolia I," and "St. Jerome in His Study"; additionally pics of his contemporaries, together with Erasmus of Rotterdam and Frederick the clever, well known and spiritual matters bought through Dürer's spouse at gala's, "Adam and Eve," the Engraved Passion (15 subjects), and "The Virgin with the Dragonfly." a lot of those express him much more fascinating and refined than do the comparative woodcuts. Reproductions of experimental influence supply the chance to review Dürer's operating approach. Dürer's matters variety from scenes of the hot testomony and the lifetime of the Saints to portrayals of peasant personalities and representations of portentous occasions, corresponding to "The 4 Witches" and "Sol Justitae," performed in 1499 in anticipation of the ultimate Judgment that used to be extensively anticipated for the tip of the century. The engraving "The vast Sow of Landser," a pig born with one head, 4 ears, our bodies, 8 ft, on six of which it stood, and with tongues," equally recorded in occasion that used to be considered as an in poor health omen.
In the current variation, through taking pictures in so much cases on to lithographic movie from the best impressions, the engravings, the place attainable, were revealed in order that even below a magnifying glass Dürer's special strains should be noticeable. Likewise, other than in a truly few circumstances, the sizes were saved precisely to the originals, entire with border-lines the place indicated. Walter L. Strauss has ready the remark for this version with references to significant catalogs, a precis of the statements of prior commentators, and historical past fabric at the engravings, on Dürer, and at the matters of the works. while you're drawn to Dürer, a duplicate of this variation of the engravings is a must.
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Additional resources for The complete engravings, etchings, and drypoints of Albrecht Dürer
Sebastian at the Column (first and second states) 27 The Virgin on the Crescent 28 Man of Sorrows with Hands Raised 29 Witch Riding Backwards on a Goat 30 Three Putti with Shield and Helmet 31 Coat-of-Arms with Lion and Rooster 32 The Virgin with the Infant Christ and St. Anne 33 St. Sebastian at the Tree 34 St. Eustace 35 The Standard Bearer 36 St. George on Foot 37 Nemesis; or, Fortuna (Das grosse Glück) 38 Apollo and Diana 39 Madonna on a Grassy Bench 40 Coat-of-Arms with a Skull 41 Nativity (Weihnachten) 42 Adam and Eve 42a Trial impression of No.
No border lines. 170. St. John Chrysostom, a poor student at school, in desperation kissed the image of the Holy Virgin. To the amazement of his fellow students he henceforth wore a golden circle around his mouth and therefore was called “golden-mouthed” (in Greek, chrysostomos). The Pope ordained him a priest at the age of sixteen, but St. John Chrysostom felt unworthy of the priesthood and became a hermit in the desert. There the Emperor’s daughter, having lost her way one day, sought refuge in his cave.
K. G. Boon, Rijksmuseum, Amsterdam; Mr. Fred Cain, Curator of the Alverthorpe Gallery, Jenkintown; Dr. Harold Joachim, The Art Institute, Chicago; Dr. Walter Koschatzky, Director of the Albertina, Vienna; Prof. Colin Eisler, Institute of Fine Arts, New York University; Mr. J. A. Levenson, Institute of Fine Arts, New York University; Prof. Ruth S. ; Mr. Benjamin Rifkin, Institute of Fine Arts, New York University; Mr. Gaillard Ravenel, National Gallery of Art, Washington, D. ; Mr. Lessing Rosenwald, Jenkintown; Mrs.