https://bridwell.omeka.net/items/browse?collection=62&sort_field=Dublin+Core%2CTitle&output=atom2024-03-28T19:13:45-04:00Omekahttps://bridwell.omeka.net/items/show/1877The immediate impact of Dürer’s St. Jerome frontispiece of 1492 is evident in this woodcut of St. Ambrose, printed in Basel later the same year. Similar to the St. Jerome in conception but less sophisticated in its placement of objects on the floor, this print has been attributed to Dürer himself, although most scholars now assign it to an anonymous artisan in Basel.]]>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/1882Noted for its striking woodcut illustrations, this book recounts a pilgrimage to the Holy Land undertaken in 1483–1484 by Bernhard von Breydenbach, Dean of Mainz Cathedral. Accompanying the pilgrims was Erhard Reuwich, a Dutch artist who provided highly descriptive woodcuts of the urban topography, sacred monuments, local inhabitants, and exotic fauna of Jerusalem. This book includes fold out woodcuts.]]>2022-11-26T12:54:28-05:00
]]>https://bridwell.omeka.net/items/show/1881Another work published by Koberger. This devotional written by Stephan Fridolin narrates 100 events in the life of Christ with 91 woodcut illustrations by Michael Wolgemut, who taught Dürer starting in 1486.]]>2022-11-26T12:54:28-05:00
06628. Stephan Fridolin (1430–1498). Schatzbehalter, oder Schrein der waren Reichtümer des Heils unnd ewyger Seligkeit. Nuremberg: Anton Koberger, 8 November 1491.
]]>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/1871St Bridget's account of her experiences of "celestial revelations" of Christ's life, the Last Judgment, her own "mystical marriage" to Christ, and divine instructions to found the Brigittine Order. Although the 29 woodcut illustrations for this edition traditionally were assigned to Dürer, now all but one of them are believed to be by assistants who contributed finished drawings on the basis of their master’s general sketches. Dürer designed the coat–of–arms of Maximilian I.]]>2022-11-26T12:54:28-05:00
]]>https://bridwell.omeka.net/items/show/1869Dürer’s closest friend, Wilibald Pirckheimer (1470–1530), was Nuremberg’s leading humanist scholar. As a favor to Pirckheimer, Dürer designed the armorial bookplate that the scholar pasted into his books, including this copy of a popular Confessionale: defecerunt scrutantes scrutinio (06961) by St. Antoninus of Florence, printed in Cologne, c. 1472.]]>2022-11-26T12:54:28-05:00
06961. Confessionale : defecerunt scrutantes scrutinio. [Cologne : Printer of the "Historia S. Albani" [Johann Guldenschaff or Conrad Winters, de Homborch?]; ca. 1472] Albrecht Dürer. [Bookplate for Wilibald Pirckheimer]. Woodcut. Nuremberg, c. 1502.
]]>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/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/1879This book has the earliest woodcut associated with Albrecht Dürer, which would have been done when he was an 18 year old apprentice in Michael Wolgemut's workshop.]]>2022-11-26T12:54:28-05:00
]]>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/1866Dürer’s Large Passion was issued as a folio–format devotional book. It consisted of a title page depicting the Mocking of Christ and eleven large woodcuts illustrating the narrative of Christ’s Passion as conveyed in Latin verses by Benedictus Chelidonius (c. 1456–1521), a Benedictine monk from Nuremberg. Although some of the woodcuts were begun as early as 1497, Dürer’s final woodcuts and the title page were not completed for publication until 1511.]]>2022-11-26T12:54:28-05:00
11011. Albrecht Dürer. Passio domini nostri Jesu, ex Hieronymo Paduano, Dominico Mancino, Sedulio, et Baptista Mantuano, per fratrem Chelidonium collecta, cum figuris Alberti Dureri Norici Pictoris. Nuremberg: Albrecht Dürer, 1511.
]]>https://bridwell.omeka.net/items/show/1865A portable devotional book of 38 leaves issued in small quarto format. It consisted of a title page and 36 woodcuts illustrating the narrative of Christ’s Passion, followed by the colophon, in which the printer identified himself as “Albrecht Dürer, painter.” Although some of the woodcuts were dated 1509 or 1510, the series was completed and published in 1511. For this edition, the monk Benedictus Chelidonius provided a shorter set of Latin verses than he had for the Large Passion.]]>2022-11-26T12:54:28-05:00
11012. Albrecht Dürer. Passio Christi ab Alberto Durer Nurenbergensi effigiata cum varii generis carminibus Fratris Benedicti Chelidonii Musophili. Nuremberg: Albrecht Dürer, 1511.
]]>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/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/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/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/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/1874Dürer published the Apocalypse, a book with fifteen full–page illustrations, in German and Latin editions of the biblical text in 1498. With these prints Dürer transformed the “popular” woodcut craft into an art form of immense descriptive and expressive power. The Book of Revelation begins on the Isle of Patmos, where St. John experiences a vision of a figure surrounded by seven golden candlesticks.]]>2022-11-26T12:54:28-05:00
AFM9502. Albrecht Dürer. St. John’s Vision of the Seven Candlesticks. Woodcut, completed by 1498. Published in Apocalypsis cum figuris. Nuremberg: Albrecht Dürer, 1511.
]]>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/1867Bridwell Library has one woodcut from Dürer’s “Life of the Virgin,” a book that consisted of twenty illustrations created from 1504 to 1510. This woodcut, the last in the sequence and most likely the last to be produced, depicts the Coronation of the Virgin.]]>2022-11-26T12:54:28-05:00
AFU6978. Albrecht Dürer. Coronation of the Virgin. Woodcut. Published in Epitome in divae parthenices Maria historiam, with Latin verses by Benedictus Chelidonius. Nuremberg: Albrecht Dürer, 1511.
]]>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
]]>https://bridwell.omeka.net/items/show/1864Several of the illustrations in this Parisian Book of Hours, such as the exhibited image of Christ Appearing to his Mother, were closely modeled on Dürer’s Small Passion. Here, the anonymous French artist added a scroll bearing Christ’s words “Regina celi letare” (“Queen of Heaven, rejoice!”) and clarified the complex pose of Dürer’s somewhat oversized Virgin, but he failed to match the striking contrasts and luminosity of the original woodcut.]]>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