https://bridwell.omeka.net/items/browse?advanced%5B0%5D%5Belement_id%5D=44&advanced%5B0%5D%5Btype%5D=is+exactly&advanced%5B0%5D%5Bterms%5D=None&output=atom2024-03-29T11:18:52-04:00Omekahttps://bridwell.omeka.net/items/show/1862This chalk drawing by an unknown Italian artist was identified recently as an early copy of Jacopo da Pontormo’s now-ruined fresco of Christ Carrying the Cross, painted in 1525 at the Certosa da Galluzo near Florence. In his Lives of the Artists (1550), Giorgio Vasari noted that Pontormo’s fresco was deeply indebted to Dürer’s woodcuts.]]>2022-11-26T12:54:27-05:00
]]>https://bridwell.omeka.net/items/show/1860This early engraving, made shortly before Dürer’s second journey to Italy in 1505–06, reflects the artist’s interest in transferring the ideals of Classical art to Christian subject matter. The print presents the Savior in the contrapposto pose utilized in ancient statuary of the Classical gods, with the weight of the body shifted to one side and the shoulders and hips turned in subtle counter-balance.]]>2022-11-26T12:54:27-05:00
]]>https://bridwell.omeka.net/items/show/1858Dürer’s most problematic masterpiece, Melencolia I, must be considered an experimental print, for there are no others like it in his oeuvre or in the art of his time.]]>2022-11-26T12:54:27-05:00
]]>https://bridwell.omeka.net/items/show/1857In 1514 Dürer also began a series of small engravings of Christ’s apostles. The first two produced were of St. Paul and St. Thomas. In the exhibited print, St. Thomas holds both a Bible and his traditional attribute, the spear with which he supposedly was martyred in Madras, India, according to the apocryphal Acts of St. Thomas. The radiant halo casts his fierce facial features into shadowy silhouette.]]>2022-11-26T12:54:27-05:00
]]>https://bridwell.omeka.net/items/show/1856Dürer added two more engravings to his series of apostles in 1523: St. Bartholomew and St. Simon. In the print of St. Simon, the artist dispensed with the medieval tradition of the halo, concentrating instead on the apostle’s grave dignity and the terrible specter of his attribute, the jagged saw with which he was martyred. At this point in Dürer’s career his religious subject matter was entirely biblical, likely in response to his admiration of Martin Luther.]]>2022-11-26T12:54:27-05:00
]]>https://bridwell.omeka.net/items/show/1855The fifth and last of Dürer’s engraved apostles bears the date 1526 (altered from 1523). At that time Dürer was preparing a large two–panel painting called The Four Apostles for the Town Hall of the city of Nuremberg. The painting, inscribed with lengthy excerpts from Luther’s German translation of the Bible, includes a monumental figure of St. Paul, whose flowing robes were borrowed by the artist directly from his own St. Philip engraving.]]>2022-11-26T12:54:27-05:00
]]>https://bridwell.omeka.net/items/show/1852One of Dürer’s last woodcuts, the Last Supper of 1523, has been interpreted in terms of the theological debate over the conduct and meaning of the Eucharist during the early years of the Reformation. Dürer changed the central focus of the Last Supper narrative to illustrate the key biblical passage to which Luther devoted the greatest emphasis in the preface to his 1522 New Testament translation (John 13:34). ]]>2022-11-26T12:54:27-05:00