By Jane Hutchison, Jane Campbell Hutchison
Hutchison's booklet is an entire advisor on Durer and the examine on his paintings, his ancient import and his aesthetic legacy.
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Extra info for Albrecht Durer: A Guide to Research (Garland Reference Library of the Humanities)
5. Acton, David. ” Bulletin, Museums of Art and Archaeology, University of Michigan 4 (1981):40–53. Discusses Goltzius’s motivation in engraving the Circumcision in the style of Dürer and the Adoration of the Magi in the style of Lucas van Leyden—two of his so-called Meisterstiche from the series done in 1594, suggesting that together the two prints illustrate “the sensibilities of self-appraisal and artistic proclamation” that were the inspiration for the series. Examines the Dutch artist’s response to Dürer and Lucas in the context of his knowledge of the Italian masters, arguing that in imitating Dürer and Lucas, Goltzius was transferring behavior that he had observed as part of the Mannerist movement during his travels in Italy to the north.
Friedrich Mielke. Berlin: Gebr. Mann, 1977. Dürer’s “aesthetic digression” in the Four Books of Human Proportion deals specifically with the passage at the end of Book III (Panofsky, 1955 p. 122). Anzelewsky views the usual catch phrase “aesthetic digression” as misleading, because it gives the erroneous impression that this material was not an integral part of Dürer’s theory. Also he notes, correctly, that the use of the term “aesthetic” is an anachronism. Dürer saw the need for dealing with a variety of 28 ALBRECHT DÜRER: A GUIDE TO RESEARCH human physical types on the basis of the information on the four “humors” or temperaments known from ancient medical literature.
The author’s thesis is that Dürer no longer regarded himself as a private person here, but rather as Man created by God in His own image—a thesis that would resonate with the use of the unusual verb effingebat to call attention to the fact that the image had been painted with “undying” (permanent) colors. ” 24. ——. Dürer-Studien. ) Discusses the intellectual circle that influenced the artist during those years, and the relevant contents of Nuremberg libraries that he would have known. Among the author’s most intriguing assertions is the idea that Dürer, aware of the discovery of a Roman statue in a plowed field in Carinthia (Kärnten), may have routed his second trip via Klagenfurt rather than the Brenner Pass, and drawn the portrait of the Windish (Slovenian) Peasant Woman on his way, rather than having seen her in Venice.
Albrecht Durer: A Guide to Research (Garland Reference Library of the Humanities) by Jane Hutchison, Jane Campbell Hutchison