https://bridwell.omeka.net/items/browse?collection=62&sort_field=Dublin+Core%2CCreator&page=2&output=atom2024-03-29T10:26:27-04:00Omekahttps://bridwell.omeka.net/items/show/1870Dürer designed two woodcuts for this first edition of the Latin plays of Hrotsvitha, a tenth–century Benedictine nun from Gandersheim. The two woodcuts by Dürer are the frontispiece, showing Celtes presenting the new edition to Friedrich III of Saxony, and the exhibited image of the author Hrotsvitha presenting her plays to Emperor Otto I. The Abbess of Gandersheim, who was Hrotsvitha’s aunt, looks on from behind the kneeling playwright.]]>2022-11-26T12:54:28-05:00
AFM4742. Hrotsvitha von Gandersheim (c. 935–c. 975). Opera Hrosvite, illustris virginis et monialis Germane, gente Saxonica orte, nuper a Conrado Celte inventa. Nuremberg: Sodalitas Celticae, 1501.
]]>https://bridwell.omeka.net/items/show/1878Dürer’s first verified book illustration, a woodcut of St. Jerome removing a thorn from a lion’s paw, was published in Basel by Nicolaus Kesler in 1492. Dürer’s composition exerted considerable influence on frontispiece illustration in the region. For Kesler’s second edition of St Jerome’s letters, exhibited here, Dürer’s design was transferred to a fresh woodblock. The anonymous cutter skillfully reproduced the earlier work in virtually every detail.]]>2022-11-26T12:54:28-05:00
]]>https://bridwell.omeka.net/items/show/1883Dürer’s godfather, Anton Koberger (c. 1445–1513) created the most important illustrated book produced in Nuremberg during Dürer’s youth, this two-volume German Bible. The woodcuts used in this book originally were produced in Cologne for Heinrich Quentell’s German Bible, published c. 1478. Purchased for re-use by Koberger in Nuremberg, these woodblocks contributed much to Dürer’s artistic vocabulary.]]>2022-11-26T12:54:28-05:00
]]>https://bridwell.omeka.net/items/show/1850This 1564 reprinting of Luther’s Passional Christi und Antichristi includes 26 woodcuts by Lucas Cranach the Elder that were first printed in 1521. These highly effective polemical prints compared the ministry of Christ against the corruption of the Antichrist, identified as the pope in Rome.]]>2022-11-26T12:54:27-05:00
]]>https://bridwell.omeka.net/items/show/1854Despite his wishes, Dürer never had the opportunity to portray Luther from life. Most Europeans came to recognize Luther’s features through portraits by Lucas Cranach the Elder (1472–1553), who became one of Luther’s closest friends, and Hans Baldung Grien (c. 1484–1545), who was trained in Dürer’s workshop between 1503 and 1507. The exhibited woodcut by Baldung Grien, dated 1521, depicts Luther while he was still an Augustinian canon.]]>2022-11-26T12:54:27-05:00
]]>https://bridwell.omeka.net/items/show/1851The cultural legacy of Dürer’s art lived on long after his death in 1528. In this 1571 catechism for Lutheran children, the lessons concerning Baptism and Communion were introduced by two illustrations. Judas has already departed from the meal and Christ extends his hand to pronounce his New Commandment. This interpretation of the Last Supper, not as the institution of a ritual but as a promise of salvation, could not have existed without the precedent set by Dürer’s innovative Last Supper of 1523.]]>2022-11-26T12:54:27-05:00
]]>https://bridwell.omeka.net/items/show/1849Martin Luther's second edition German Bible, translated from the original Greek, known as "Dezembertestament" or the "December Testament" includes woodcut illustrations done by Lucas Cranach the Elder. Closely based on the Apocalypse woodcuts of 1498, Cranach’s illustrations for the Book of Revelation simplified Dürer’s visionary compositions, giving them a more immediate impact and removing certain details that had combined diverse chapters of the text within a single image.]]>2022-11-26T12:54:27-05:00
]]>https://bridwell.omeka.net/items/show/1868As another favor to his friend Wilibald Pirckheimer, who edited this work by the ancient Greek historian Plutarch, Der designed this handsome title-page border. Surrounding Pirckheimers coat-of-arms in the lower margin, the trumpet-blowing putti, the antique architectural elements, and the flute-playing satyr Pan provide appropriately Classical decoration for the book.]]>2022-11-26T12:54:28-05:00
31358. Plutarch (c. 45–120 CE). Plutarchi Chaeronei de his qui tarde a numine corripiuntur libellus. Edited by Wilibald Pirckheimer. Nuremberg: Friedrich Peypus, 1513.
]]>https://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/1861This first edition of the Gospels in Arabic was illustrated with sixty-eight woodcuts. The illustrations were designed for this edition by the Italian painter and printmaker Antonio Tempesta (1555–1630). Tempesta was a highly gifted and original artist, but the exhibited image corresponds so closely to Dürer’s woodcut of Christ Nailed to the Cross in the Small Passion that its creation seems to have been intended as an act of homage to great the German printmaker.]]>2022-11-26T12:54:27-05:00
AER1214. [Arabic Gospels]. Evangelium sanctum Domini nostri Iesu Christi conscriptum a quatuor Evangelistis Sanctis, id est, Matthaeo, Marco, Luca, et Iohanne. Rome: Typographia Medicea, 1591.
]]>https://bridwell.omeka.net/items/show/1876On his return trip to Nuremberg from Basel, Dürer traveled to Freiburg im Breisgau, where he provided the design for this striking title page woodcut. The image consists of two woodblocks: one for the lady holding the printer’s armorial device, which reappears at the end of the book, and another that includes the title of the book carved in fine calligraphy flanked by two angels.]]>2022-11-26T12:54:28-05:00
]]>https://bridwell.omeka.net/items/show/1880The most extensively illustrated book of the fifteenth century was the “Nuremberg Chronicle,” issued in Latin and German editions. Also published by Dürer’s godfather, this history of the world from its creation to the year 1493 included 1,809 woodcut illustrations produced from 645 different blocks by Wolgemut, Pleydenwurff, and Dürer.]]>2022-11-26T12:54:28-05:00
]]>https://bridwell.omeka.net/items/show/1875The "Nuremberg Chronicle," a history of the world from the Creation to the year 1493, was the most profusely illustrated book printed during the fifteenth century. Scholars seeking to identify illustrations that might have been contributed by Dürer often point to the striking woodcut that depicts Odysseus rescuing his seafarers from the sorcery of Circe, who had turned the men into animals.]]>2022-11-26T12:54:28-05:00
]]>https://bridwell.omeka.net/items/show/1886The most important German artist before Albrecht Dürer was Martin Schongauer. Schongauer’s prints were the first to combine the elegant naturalism developed by the early Netherlandish painters with the graphic clarity offered by the new medium of copperplate engraving. Signed with the artist's "M+S" monogram.]]>2022-11-26T12:54:28-05:00
]]>https://bridwell.omeka.net/items/show/1863The international influence of Dürer’s Small Passion woodcuts can be seen in this Italian book of meditations on the Passion, which reveals obvious dependence on Dürer’s image of Christ before Caiaphas. Here, although an anonymous Venetian artisan has simplified Dürer’s composition of Christ’s trial, the high priest’s recoiling posture clearly was derived from the 1511 woodcut.]]>2022-11-26T12:54:28-05:00
AFD3981. Meditationi devotissime di Santo Bonaventura Cardinale fondate sopra la passione del nostro Signore Iesu Christo novamente historiate. Venice: Giovanni Andrea Valvassore, [c. 1530].
]]>https://bridwell.omeka.net/items/show/1884Single leaf from a German blockbook showing an illustration from the Book of Revelation. Woodblock print with hand coloring. Blockbook's lively apocalyptic imagery, derived from earlier manuscripts, provided Dürer’s generation of artists with useful iconographic models.]]>2022-11-26T12:54:28-05:00
]]>https://bridwell.omeka.net/items/show/1885Illuminated manuscript with psalms to be recited over the course of a week. There are large gilt initials and an illuminated portrait of King David. This Psalter highlights the quality of manuscript illumination which is conservative. Evidently created for a nun in a local convent, the manuscript bears a colophon indicating that it was completed in Nuremberg on February 3, 1496.]]>2022-11-26T12:54:28-05:00