lithography. Dürer's work on the book was halted for an unknown reason, and the decoration was continued by artists including
Lucas Cranach the Elder and
Hans Baldung. Dürer also made several portraits of the Emperor, including one shortly before Maximilian's death in 1519.
Maximilian's death came at a time when Dürer was concerned he was losing "my sight and freedom of hand" (perhaps caused by arthritis) and increasingly affected by the writings of Martin Luther.[25] In July 1520 Dürer made his fourth and last major journey, to renew the Imperial pension Maximilian had given him and to secure the patronage of the new emperor, Charles V, who was to be crowned at Aachen. Dürer journeyed with his wife and her maid via the Rhine to Cologne and then to Antwerp, where he was well received and produced numerous drawings in silverpoint, chalk and charcoal. In addition to attending the coronation, he visited Cologne (where he admired the painting of Stefan Lochner), Nijmegen, 's-Hertogenbosch, Bruges (where he saw Michelangelo's Madonna of Bruges), Ghent (where he admired van Eyck's Ghent altarpiece),[26] and Zeeland.
Dürer took a large stock of prints with him and wrote in his diary to whom he gave, exchanged or sold them, and for how much. This provides rare information of the monetary value placed on prints at this time. Unlike paintings, their sale was very rarely documented.[27] While providing valuable documentary evidence, Dürer's Netherlandish diary also reveals that the trip was not a profitable one. For example, Dürer offered his last portrait of Maximilian to his daughter, Margaret of Austria, but eventually traded the picture for some white cloth after Margaret disliked the portrait and declined to accept it. During this trip he also met Bernard van Orley, Jan Provoost, Gerard Horenbout, Jean Mone, Joachim Patinir and Tommaso Vincidor, though he did not, it seems, meet Quentin Matsys.[28]
At the request of Christian II of Denmark, Dürer went to Brussels to paint the King's portrait. There he saw "the things which have been sent to the king from the golden land"—the Aztec treasure that Hernán Cortés had sent home to Charles V following the fall of Mexico. Dürer wrote that this treasure "was much more beauti
Dürer took a large stock of prints with him and wrote in his diary to whom he gave, exchanged or sold them, and for how much. This provides rare information of the monetary value placed on prints at this time. Unlike paintings, their sale was very rarely documented.[27] While providing valuable documentary evidence, Dürer's Netherlandish diary also reveals that the trip was not a profitable one. For example, Dürer offered his last portrait of Maximilian to his daughter, Margaret of Austria, but eventually traded the picture for some white cloth after Margaret disliked the portrait and declined to accept it. During this trip he also met Bernard van Orley, Jan Provoost, Gerard Horenbout, Jean Mone, Joachim Patinir and Tommaso Vincidor, though he did not, it seems, meet Quentin Matsys.[28]
At the request of Christian II of Denmark, Dürer went to Brussels to paint the King's portrait. There he saw "the things which have been sent to the king from the golden land"—the Aztec treasure that Hernán Cortés had sent home to Charles V following the fall of Mexico. Dürer wrote that this treasure "was much more beautiful to me than miracles. These things are so precious that they have been valued at 100,000 florins".[9] Dürer also appears to have been collecting for his own cabinet of curiosities, and he sent back to Nuremberg various animal horns, a piece of coral, some large fish fins, and a wooden weapon from the East Indies.
Having secured his pension, Dürer finally returned home in July 1521, having caught an undetermined illness—perhaps malaria[29]—which afflicted him for the rest of his life, and greatly reduced his rate of work.[9]
On his return to Nuremberg, Dürer worked on a number of grand projects with religious themes, including a crucifixion scene and a Sacra conversazione, though neither was completed.[30] This may have been due in part to his declining health, but perhaps also because of the time he gave to the preparation of his theoretical works on geometry and perspective, the proportions of men and horses, and fortification.
However, one consequence of this shift in emphasis was that during the last years of his life, Dürer produced comparatively little as an artist. In painting, there was only a portrait of Hieronymus Holtzschuher, a Madonna and Child (1526), Salvator Mundi (1526), and two panels showing St. John with St. Peter in background and St. Paul with St. Mark
However, one consequence of this shift in emphasis was that during the last years of his life, Dürer produced comparatively little as an artist. In painting, there was only a portrait of Hieronymus Holtzschuher, a Madonna and Child (1526), Salvator Mundi (1526), and two panels showing St. John with St. Peter in background and St. Paul with St. Mark in the background. This last great work, the Four Apostles, was given by Dürer to the City of Nuremberg—although he was given 100 guilders in return.[31]
As for engravings, Dürer's work was restricted to portraits and illustrations for his treatise. The portraits include Cardinal-Elector Albert of Mainz; Frederick the Wise, elector of Saxony; the humanist scholar Willibald Pirckheimer; Philipp Melanchthon, and Erasmus of Rotterdam. For those of the Cardinal, Melanchthon, and Dürer's final major work, a drawn portrait of the Nuremberg patrician Ulrich Starck, Dürer depicted the sitters in profile.
Despite complaining of his lack of a formal classical education, Dürer was greatly interested in intellectual matters and learned much from his boyhood friend Willibald Pirckheimer, whom he no doubt consulted on the content of many of his images.[32] He also derived great satisfaction from his friendships and correspondence with Erasmus and other scholars. Dürer succeeded in producing two books during his lifetime. "The Four Books on Measurement" were published at Nuremberg in 1525 and was the first book for adults on mathematics in German,[9] as well as being cited later by Galileo and Kepler. The other, a work on city fortifications, was published in 1527. "The Four Books on Human Proportion" were published posthumously, shortly after his death in 1528.[4]
Dürer died in Nuremberg at the age of 56, leaving an estate valued at 6,874 florins – a considerable sum. He is buried in the Johannisfriedhof cemetery. His large house (purchased in 1509 from the heirs of the astronomer Bernhard Walther), where his workshop was located and where his widow lived until her death in 1539, remains a prominent Nuremberg landmark.[9]
Dürer's writings suggest that he may have been sympathetic to Luther's ideas, though it is unclear if he ever left the Catholic Church. Dürer wrote of his desire to draw Luther in his diary in 1520: "And God help me that I may go to Dr. Martin Luther; thus I intend to make a portrait of him with great care and engrave him on a copper plate to create a lasting memorial of the Christian man who helped me overcome so many difficulties."[33] In a letter to Nicholas Kratzer in 1524, Dürer wrote, "because of our Christian faith we have to stand in scorn and danger, for we are reviled and called heretics". Most tellingly, Pirckheimer wrote in a letter to Johann Tscherte in 1530: "I confess that in the beginning I believed in Luther, like our Albert of blessed memory ... but as anyone can see, the situation has become worse." Dürer may even have contributed to the Nuremberg City Council's mandating Lutheran sermons and services in March 1525. Notably, Dürer had contacts with various reformers, such as Zwingli, Andreas Karlstadt, Melanchthon, Erasmus and Cornelius Grapheus from whom Dürer received Luther's Babylonian Captivity in 1520.[34] Yet Erasmus and C. Grapheus are better said to be Catholic change agents. Also, from 1525, "the year that saw the peak and collapse of the Peasants' War, the artist can be seen to distance himself somewhat from the [Lutheran] movement...."[35]
The Cannon, Dürer's largest etching, 1518
Dürer's later works have also been claimed to show Protestant sympathies. His 1523 The Last Supper woodcut has often been understood to have an evangelical theme, focusing as it does on Christ espousing the Gospel, as well the inclusion of the Eucharistic cup, an expression of Protestant Dürer's later works have also been claimed to show Protestant sympathies. His 1523 The Last Supper woodcut has often been understood to have an evangelical theme, focusing as it does on Christ espousing the Gospel, as well the inclusion of the Eucharistic cup, an expression of Protestant utraquism,[36] although this interpretation has been questioned.[37] The delaying of the engraving of St Philip, completed in 1523 but not distributed until 1526, may have been due to Dürer's uneasiness with images of saints; even if Dürer was not an iconoclast, in his last years he evaluated and questioned the role of art in religion.[38]
Legacy and influence
Titian, and
Parmigianino, all of whom collaborated with printmakers in order to promote and distribute their work.
His engravings seem to have had an intimidating effect upon his German successors, the "Little Masters" who attempted few large engravings but continued Dürer's themes in small, rather cramped compositions. Lucas van Leyden was the only Northern European engraver to successfully continue to produce large engravings in the first third of the 16th century. The generation of Italian engravers who trained in the shadow of Dürer all either directly copied parts of his landscape backgrounds (Giulio Campagnola, Giovanni Battista Palumba, Benedetto Montagna and Cristofano Robetta), or whole prints (Marcantonio Raimondi and Agostino Veneziano). However, Dürer's influence became less dominant after 1515, when Marcantonio perfected his new engraving style, which in turn travelled over the Alps to dominate Northern engraving also.
In painting, Dürer had relatively little influence in Italy, where probably only his altarpiece in Venice was seen, and his German successors were less effective in blending German and Italian styles. His intense and self-dramatizing self-portraits have continued to have a strong influence up to the present, especially on painters in the 19th and 20th century who desired a more dramatic portrait style. Dürer has never fallen from critical favour, and there have been significant revivals of interest in his works in Germany in the Dürer Renaissance of about 1570 to 1630, in the early nineteenth century, and in German nationalism from 1870 to 1945.[9]
Theoretical works
In all his theoretical works, in order to communicate his theories in the German language rather than in Latin, Dürer used graphic expressions based on a vernacular, craftsmen's language. For example, "Schneckenlinie" ("snail-line") was his term for a spiral form. Thus, Dürer contributed to the expansion in German prose which Luther had begun with his translation of the Bible.[31]
Four Books on Measurement
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Find sources: "Albrecht Dürer" – news · newspapers · books · scholar · JSTOR (May 2017) (Little Masters" who attempted few large engravings but continued Dürer's themes in small, rather cramped compositions. Lucas van Leyden was the only Northern European engraver to successfully continue to produce large engravings in the first third of the 16th century. The generation of Italian engravers who trained in the shadow of Dürer all either directly copied parts of his landscape backgrounds (Giulio Campagnola, Giovanni Battista Palumba, Benedetto Montagna and Cristofano Robetta), or whole prints (Marcantonio Raimondi and Agostino Veneziano). However, Dürer's influence became less dominant after 1515, when Marcantonio perfected his new engraving style, which in turn travelled over the Alps to dominate Northern engraving also.
In painting, Dürer had relatively little influence in Italy, where probably only his altarpiece in Venice was seen, and his German successors were less effective in blending German and Italian styles. His intense and self-dramatizing self-portraits have continued to have a strong influence up to the present, especially on painters in the 19th and 20th century who desired a more dramatic portrait style. Dürer has never fallen from critical favour, and there have been significant revivals of interest in his works in Germany in the Dürer Renaissance of about 1570 to 1630, in the early nineteenth century, and in German nationalism from 1870 to 1945.[9]
In all his theoretical works, in order to communicate his theories in the German language rather than in Latin, Dürer used graphic expressions based on a vernacular, craftsmen's language. For example, "Schneckenlinie" ("snail-line") was his term for a spiral form. Thus, Dürer contributed to the expansion in German prose which Luther had begun with his translation of the Bible.[31]
Four Books on MeasuDürer's work on geometry is called the Four Books on Measurement (Underweysung der Messung mit dem Zirckel und Richtscheyt or Instructions for Measuring with Compass and Ruler).[39] The first book focuses on linear geometry. Dürer's geometric constructions include helices, conchoids and epicycloids. He also draws on Apollonius, and Johannes Werner's 'Libellus super viginti duobus elementis conicis' of 1522.
The second book moves onto two-dimensional geometry, i.e. the construction of regular polygons.[40] Here Dürer favours the methods of Ptolemy over Euclid. The third book applies these principles of geometry to architecture, engineering and typography.
In architecture Dürer cites Vitruvius but elaborates his own classical designs and columns. In typography, Dürer depicts the geometric construction of the Latin alphabet, relying on Italian precedent. However, his
construction of the Gothic alphabet is based upon an entirely different modular system. The fourth book completes the progression of the first and second by moving to three-dimensional forms and the construction of polyhedra. Here Dürer discusses the five Platonic solids, as well as seven Archimedean semi-regular solids, as well as several of his own invention.
In all these, Dürer shows the objects as nets. Finally, Dürer discusses the Delian Problem and moves on to the 'construzione legittima', a method of depicting a cube in two dimensions through linear perspective. He is thought to be the first to describe a visualization technique used in modern computers, ray tracing. It was in Bologna that Dürer was taught (possibly by Luca Pacioli or Bramante) the principles of polygons.[40] Here Dürer favours the methods of Ptolemy over Euclid. The third book applies these principles of geometry to architecture, engineering and typography.
In architecture Dürer cites Vitruvius but elaborates his own classical designs and columns. In typography, Dürer depicts the geometric construction of the Latin alphabet, relying on Italian precedent. However, his
construction of the Gothic alphabet is based upon an entirely different modular system. The fourth book completes the progression of the first and second by moving to three-dimensional forms and the construction of polyhedra. Here Dürer discusses the five Platonic solids, as well as seven Archimedean semi-regular solids, as well as several of his own invention.
In all these, Dürer shows the objects as nets. Finally, Dürer discusses the Delian Problem and moves on to the 'construzione legittima', a method of depicting a cube in two dimensions through linear perspective. He is thought to be the first to describe a visualization technique used in modern computers, ray tracing. It was in Bologna that Dürer was taught (possibly by Luca Pacioli or Bramante) the principles of linear perspective, and evidently became familiar with the 'costruzione legittima' in a written description of these principles found only, at this time, in the unpublished treatise of Piero della Francesca. He was also familiar with the 'abbreviated construction' as described by Alberti and the geometrical construction of shadows, a technique of Leonardo da Vinci. Although Dürer made no innovations in these areas, he is notable as the first Northern European to treat matters of visual representation in a scientific way, and with understanding of Euclidean principles. In addition to these geometrical constructions, Dürer discusses in this last book of Underweysung der Messung an assortment of mechanisms for drawing in perspective from models and provides woodcut illustrations of these methods that are often reproduced in discussions of perspective.
Dürer's work on human proportions is called the Four Books on Human Proportion (Vier Bücher von Menschlicher Proportion) of 1528.[41] The first book was mainly composed by 1512/13 and completed by 1523, showing five differently constructed types of both male and female figures, all parts of the body expressed in fractions of the total height. Dürer based these constructions on both Vitruvius and empirical observations of "two to three hundred living persons",[31] in his own words. The second book includes eight further types, broken down not into fractions but an Albertian system, which Dürer probably learned from Francesco di Giorgio's 'De harmonica mundi totius' of 1525. In the third book, Dürer gives principles by which the proportions of the figures can be modified, including the mathematical simulation of convex and concave mirrors; here Dürer also deals with human physiognomy. The fourth book is devoted to the theory of movement.[16]
Appended to the last book, however, is a self-contained essay on aesthetics, which Dürer worked on between 1512 and 1528, and it is here that we learn of his theories concerning 'ideal beauty'. Dürer rejected Alberti's concept of an objective beauty, proposing a relativist notion of beauty based on variety. Nonetheless, Dürer still believed that truth was hidden within nature, and that there were rules which ordered beauty, even though he found it difficult to define the criteria for such a code. In 1512/13 his three criteria were function ('Nutz'), naïve approval ('Wohlgefallen') and the happy medium ('Mittelmass'). However, unlike Alberti and Leonardo, Dürer was most troubled by understanding not just the abstract notions of beauty but also as to how an artist can create beautiful images. Between 1512 and the final draft in 1528, Dürer's belief developed from an understanding of human creativity as spontaneous or inspired to a concept of 'selective inward synthesis'.[31] In other words, that an artist builds on a wealth of visual experiences in order to imagine beautiful things. Dürer's belief in the abilities of a single artist over inspiration prompted him to assert that "one man may sketch something with his pen on half a sheet of paper in one day, or may cut it into a tiny piece of wood with his little iron, and it turns out to be b Appended to the last book, however, is a self-contained essay on aesthetics, which Dürer worked on between 1512 and 1528, and it is here that we learn of his theories concerning 'ideal beauty'. Dürer rejected Alberti's concept of an objective beauty, proposing a relativist notion of beauty based on variety. Nonetheless, Dürer still believed that truth was hidden within nature, and that there were rules which ordered beauty, even though he found it difficult to define the criteria for such a code. In 1512/13 his three criteria were function ('Nutz'), naïve approval ('Wohlgefallen') and the happy medium ('Mittelmass'). However, unlike Alberti and Leonardo, Dürer was most troubled by understanding not just the abstract notions of beauty but also as to how an artist can create beautiful images. Between 1512 and the final draft in 1528, Dürer's belief developed from an understanding of human creativity as spontaneous or inspired to a concept of 'selective inward synthesis'.[31] In other words, that an artist builds on a wealth of visual experiences in order to imagine beautiful things. Dürer's belief in the abilities of a single artist over inspiration prompted him to assert that "one man may sketch something with his pen on half a sheet of paper in one day, or may cut it into a tiny piece of wood with his little iron, and it turns out to be better and more artistic than another's work at which its author labours with the utmost diligence for a whole year".[42]
Title page of Vier Bücher von menschlicher Proportion showing the monogram signature of artist
Book on Fortification
In 1527, Dürer also published Various Lessons on the Fortification of Cities, Castles, and Localities (Etliche Underricht zu Befestigung der Stett, Schloss und Flecken). It was printed in Nuremberg, probably by Hieronymus Andreae and reprinted in 1603 by Johan Janssenn in Arnhem. In 1535 it was also translated into Latin as On Cities, Forts, and Castles, Designed and Strengthened by Several Manners: Presented for the Most Necessary Accommodation of War (De vrbibus, arcibus, castellisque condendis, ac muniendis rationes aliquot In 1527, Dürer also published Various Lessons on the Fortification of Cities, Castles, and Localities (Etliche Underricht zu Befestigung der Stett, Schloss und Flecken). It was printed in Nuremberg, probably by Hieronymus Andreae and reprinted in 1603 by Johan Janssenn in Arnhem. In 1535 it was also translated into Latin as On Cities, Forts, and Castles, Designed and Strengthened by Several Manners: Presented for the Most Necessary Accommodation of War (De vrbibus, arcibus, castellisque condendis, ac muniendis rationes aliquot : praesenti bellorum necessitati accommodatissimae), published by Christian Wechel (Wecheli/Wechelus) in Paris.[43]
The work is less proscriptively theoretical than his other works, and was soon overshadowed by the Italian theory of polygonal The work is less proscriptively theoretical than his other works, and was soon overshadowed by the Italian theory of polygonal fortification (the trace italienne – see Bastion fort), though his designs seem to have had some influence in the eastern German lands and up into the Baltic States.
St Jerome in the Wilderness, 1495, oil on panel, National Gallery, London
- Portraits
Portrait of Hieronymus Holzschuher, 1526
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.jpg/440px-Albrecht_Dürer%2C_Selbstbildnis_mit_26_Jahren_(Prado%2C_Madrid).jpg "Go To List -> Albrecht Dürer, Selbstbildnis mit 26 Jahren (Prado, Madrid)")
.jpg/440px-Albrecht_Dürer_-_1500_self-portrait_(High_resolution_and_detail).jpg "Go To List -> Albrecht Dürer")
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It is now thought unlikely that Dürer cut any of the woodblocks himself; this task would have been performed by a specialist craftsman. However, his training in Wolgemut's studio, which made many carved and painted altarpieces and both designed and cut woodblocks for woodcut, evidently gave him great understanding of what the technique could be made to produce, and how to work with block cutters. Dürer either drew his design directly onto the woodblock itself, or glued a paper drawing to the block. Either way, his drawings were destroyed during the cutting of the block.
lithography
Titian
Dürer's study of human proportions
Saint Jerome, 1521, 
Albrecht Dürer the Elder with a Rosary
Prado Museum
Head of an Old Man, 1521
Nemesis
Young Hare
Great Piece of Turf
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