- New
St Jerome in his Study
| Reference: | S48400 |
| Author | Albrecht DURER |
| Year: | 1514 |
| Measures: | 150 x 248 mm |
- New
| Reference: | S48400 |
| Author | Albrecht DURER |
| Year: | 1514 |
| Measures: | 150 x 248 mm |
Description
Seated St. Jerome writing at a sunlit writing desk, with a lion and dog in the foreground.
Engraving, 1514, monogrammed and dated in plate at lower right.
Superb proof, richly toned, printed on contemporary laid paper which, though lacking watermark is still stable to the first half of the 16th century, minimal perfectly executed restorations in the left side, along the column, otherwise in excellent condition.
Example with features corresponding to the second to fourth variants (of six) described by Meder [b-d/f]. The scratch in the ceiling, which Meder describes in the fourth variant of the engraving, actually indeed on evidence of the second variant as well.
Second in order of the master's three great masterpieces [The Knight, Death and the Devil, 1513 - St. Jerome in the Study, 1514 - Melencolia I, 1514] known as the Meisterstiche (masterpieces on the engraving), the St. Jerome is probably, of the three engravings, the most perfect from a formal point of view. The construction of the cell is of absolute mathematical rigor, space and light achieve a perfect balance between static and dynamic, and all pictorial effects are achieved by rigorously graphic means; the maximum effect is achieved with a minimum of effort and complication.
The Meisterstiche express Dürer's philosophical conception of art, culture and religion. Dürer, a learned man of his time, produced the Knight as representative of the “vita activa” and the St. Jerome an expression of the “vita contemplativa” both of which strive, though in opposite ways, for a life in the service of God, and finally engraved the Melencolia I, an expression of a reasoning life that could perhaps be described as competing with God. Dürer's thinking does not stop there, however: it is clear that within the trilogy two prints complement each other by expressing antithetical moral and material values: the Saint Jerome and the Melencolia.
The two compositions are in too obvious a contrast to be accidental: St. Jerome in his intimate, orderly, bright, and cozy study is serenely absorbed in his translation of the Bible, surrounded by his well-fed animals; in the Melencolia the character (perhaps Dürer himself), uncomfortably huddled on a stone, in the clutter, the half-light, and the cold, is in a state of inaction, distressed by doubts, in the company of a sullen putto and an underfed bracco. To further confirm this, it is documented that Dürer always sold the two sheets together and that collectors discussed them by holding them side by side, and never did one sheet of the Knight change hands with the others almost as if Dürer saw in the “vita activa” in the service of God of the Knight errant (Erasmus of Rotterdam) a realization, at least in part, of the passive reasoning of the Melencolia.
Example belonged to the collection of Pierre Mariette. Signature of ownership on verso “P. Mariette 1693” (cf. Lugt 1788).
https://www.marquesdecollections.fr/FtDetail/85f416c4-d32b-c44c-98a6-66c401df323d
Bibliografia
Meder 1932 / Dürer Katalog n. 59, b-d/f; Bartsch / Le Peintre graveur VII.76.60; Schoch 2001-04 / Albrecht Dürer, das druckgraphische Werk. 3 vols I Intaglio, II Woodcuts, III Book illustrations I.65; Strauss pp. 212-214, n. 77.
Albrecht DURER (Norimberga 1471 - 1528)
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Dürer was a German painter, wood carver, engraver, and mathematician. He is best known for his woodcuts in series, including the Apocalypse (1498), two series on the crucifixion of Christ, the Great Passion (1498-1510) and the Little Passion (1510-11) as well as many of his individual prints, such as Knight, Death, and the Devil(1513) and Melancholia I (1514).
Dürer was born in the Imperial Free City of Nuremberg. His family came from the Kingdom of Hungary, germanizing the family name of Thürer when they settled in Nuremberg soon after the middle of the 15th century. His father, also called Albrecht, was a goldsmith and served as assistant to Hieronymus Helfer, marrying his daughter Barbara in 1468. They had eighteen children, Albrecht was the second. Albrecht's brother, Hans Dürer, also became a renowned artist.
As a youngster, Albrecht the younger apprenticed under his father, where he learned the fine art of goldsmithing, and to handle a burin. Then at the age of fifteen Dürer was apprenticed to the principal painter of the town, Michael Wolgemut, a prolific if undistinguished producer of small works in the late Gothic style. Dürer learned not only painting but also wood carving and elementary copper engraving under Wolgemut. At the end of his apprenticeship in 1490 he travelled (the so-called Wanderjahre). In 1492 he arrived in Colmar, intending to study under Martin Schöngauer, a well regarded painter-engraver of his time. He found that Schongauer had died the previous year, but he was received kindly by the family of the deceased master there and in Basel. Under them he evidently had some practice both in metal-engraving and in furnishing designs for the woodcutter. He left Basel some time in 1494 and travelled briefly in the Low Countries before he returned to Nuremberg. From this period, little of the work that can be attributed to him with certainty survives, though several of the illustrations of the Nuremberg Chronicle are sometimes attributed to him.
On July 9, 1494 Dürer was married, according to an arrangement made during his absence, to Agnes Frey, the daughter of a local merchant. His relationship with his wife is unclear and her reputation has suffered from a posthumous assault by Dürer's friends. He did not remain in Nuremberg long; in the autumn of 1494 he travelled to Italy, leaving his wife at Nuremberg. He went to Venice, evidence of his travels being derived from drawings and engravings that are closely linked to existing northern Italian works by Mantegna, Antonio Pollaiuolo, Lorenzo di Credi and others. Some time in 1495 Dürer must have returned to Nuremberg, where he seems to have lived and worked for possibly the next ten years, producing most of his notable prints.
During the first few years from 1495 onwards he worked in the established Germanic and northern forms but was open to the influences of the Renaissance. His best works in this period were for wood-block printing, typical scenes of popular devotion developed into his famous series of sixteen great designs for the Apocalypse, first carved in 1498. Counterpointed with the first seven of scenes of the Great Passion in the same year, and a little later a series of eleven on the Holy Family and of saints. Around 1504-1505 he carved the first seventeen prints of a set illustrating the life of the Virgin. Neither these nor the Great Passion were published till several years later.
Dürer trained himself in the more finely detailed and expensive copper-engraving. He attempted no subjects of the scale of his woodcuts, but produced a number of Madonnas, single figures from scripture or of the saints, some nude mythologies, and groups, sometimes satirical, of ordinary people. The Venetian artist Jacopo de Barbari, whom Dürer had met in Venice, came to Nuremberg for a while in 1500. He influenced Dürer with the new developments in perspective, anatomy and proportion, from which Dürer began his own studies. A series of extant drawings shows Dürer's experiments in human proportion, up to the famous engraving of Adam and Eve (1504) which showed his firm and detailed grasp of landscape had extended into the quality of flesh surfaces by the subtlest use of the graving-tool known to him. Two or three other technical masterpieces were produced up to 1505, when he made a second visit to Italy.
In Italy he turned his hand to painting, at first producing a series of works by tempera-painting on linen, including portraits and altarpieces, notably the Paumgartner altarpiece and the Adoration of the Magi. In early 1506 he returned to Venice, and stayed there until the spring of 1507. The occasion of this journey has been erroneously stated by Vasari. Dürer's engravings had by this time attained great popularity and had begun to be copied. In Venice he was given a valuable commission from the emigrant German community for the church of St. Bartholomew. The picture painted by Dürer was closer to the Italian style - the Adoration of the Virgin, also known as the Feast of Rose Garlands; it was subsequently acquired by the Emperor Rudolf II and taken to Prague. Other paintings Dürer produced in Venice include The Virgin and Child with the Goldfinch, a Christ disputing with the Doctors (apparently produced in a mere five days) and a number of smaller works.
Despite the regard in which he was held by the Venetians, Dürer was back in Nuremberg by mid-1507. He remained in Germany until 1520. His reputation spread all over Europe. He was on terms of friendship or friendly communication with all the masters of the age, and Raphael held himself honored in exchanging drawings with Dürer.
The years between his return from Venice and his journey to the Netherlands are commonly divided according to the type of work with which he was principally occupied. The first five years, 1507-1511, are pre-eminently the painting years of his life. In them, working with a vast number of preliminary drawings and studies, he produced what have been accounted his four best works in painting - Adam and Eve (1507), Virgin with the Iris (1508), the altarpiece the Assumption of the Virgin (1509), and the Adoration of the Trinity by all the Saints (1511). During this period he also completed the two woodcut series of the Great Passion and the Life of the Virgin, both published in 1511 together with a second edition of the Apocalypse series.
From 1511 to 1514, Dürer concentrated on engraving, both on wood and copper, but especially the latter. The major work he produced in this period was the thirty-seven subjects of the Little Passion on wood, published first in 1511, and a set of fifteen small copper-engravings on the same theme in 1512. In 1513 and 1514 appeared the three most famous of Dürer's works in copper-engraving, The Knight and Death (or simply The Knight, as he called it, 1513), Melancolia and St Jerome in his Study (both 1514).
In the years leading to 1520 he produced a wide range of works. Tempera on linen portraits in 1516. Engravings on many subjects, experiments in etching on plates of iron and zinc. A part of the Triumphal Gate and the Triumphal March for the Emperor Maximilian. He also did the marginal decorations for the Emperor's prayer-book and a portrait-drawing of the Emperor shortly before his death in 1519.
In the summer of 1520 the desire of Dürer to secure new patronage following the death of Maximilian and an outbreak of sickness in Nuremberg, gave occasion to his fourth and last journey. Together with his wife and her maid he set out in July for the Netherlands in order to be present at the coronation of the new Emperor Charles V. He journeyed by the Rhine, Cologne, and then to Antwerp, where he was well received and produced numerous drawings in silverpoint, chalk or charcoal. Besides going to Aachen for the coronation, he made excursions to Cologne, Nijmwegen, Hertogenbosch, Brussels, Bruges, Ghent and Zeeland. He finally returned home in July 1521, having caught an undetermined illness which afflicted him for the rest of his life.
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Albrecht DURER (Norimberga 1471 - 1528)
|
Dürer was a German painter, wood carver, engraver, and mathematician. He is best known for his woodcuts in series, including the Apocalypse (1498), two series on the crucifixion of Christ, the Great Passion (1498-1510) and the Little Passion (1510-11) as well as many of his individual prints, such as Knight, Death, and the Devil(1513) and Melancholia I (1514).
Dürer was born in the Imperial Free City of Nuremberg. His family came from the Kingdom of Hungary, germanizing the family name of Thürer when they settled in Nuremberg soon after the middle of the 15th century. His father, also called Albrecht, was a goldsmith and served as assistant to Hieronymus Helfer, marrying his daughter Barbara in 1468. They had eighteen children, Albrecht was the second. Albrecht's brother, Hans Dürer, also became a renowned artist.
As a youngster, Albrecht the younger apprenticed under his father, where he learned the fine art of goldsmithing, and to handle a burin. Then at the age of fifteen Dürer was apprenticed to the principal painter of the town, Michael Wolgemut, a prolific if undistinguished producer of small works in the late Gothic style. Dürer learned not only painting but also wood carving and elementary copper engraving under Wolgemut. At the end of his apprenticeship in 1490 he travelled (the so-called Wanderjahre). In 1492 he arrived in Colmar, intending to study under Martin Schöngauer, a well regarded painter-engraver of his time. He found that Schongauer had died the previous year, but he was received kindly by the family of the deceased master there and in Basel. Under them he evidently had some practice both in metal-engraving and in furnishing designs for the woodcutter. He left Basel some time in 1494 and travelled briefly in the Low Countries before he returned to Nuremberg. From this period, little of the work that can be attributed to him with certainty survives, though several of the illustrations of the Nuremberg Chronicle are sometimes attributed to him.
On July 9, 1494 Dürer was married, according to an arrangement made during his absence, to Agnes Frey, the daughter of a local merchant. His relationship with his wife is unclear and her reputation has suffered from a posthumous assault by Dürer's friends. He did not remain in Nuremberg long; in the autumn of 1494 he travelled to Italy, leaving his wife at Nuremberg. He went to Venice, evidence of his travels being derived from drawings and engravings that are closely linked to existing northern Italian works by Mantegna, Antonio Pollaiuolo, Lorenzo di Credi and others. Some time in 1495 Dürer must have returned to Nuremberg, where he seems to have lived and worked for possibly the next ten years, producing most of his notable prints.
During the first few years from 1495 onwards he worked in the established Germanic and northern forms but was open to the influences of the Renaissance. His best works in this period were for wood-block printing, typical scenes of popular devotion developed into his famous series of sixteen great designs for the Apocalypse, first carved in 1498. Counterpointed with the first seven of scenes of the Great Passion in the same year, and a little later a series of eleven on the Holy Family and of saints. Around 1504-1505 he carved the first seventeen prints of a set illustrating the life of the Virgin. Neither these nor the Great Passion were published till several years later.
Dürer trained himself in the more finely detailed and expensive copper-engraving. He attempted no subjects of the scale of his woodcuts, but produced a number of Madonnas, single figures from scripture or of the saints, some nude mythologies, and groups, sometimes satirical, of ordinary people. The Venetian artist Jacopo de Barbari, whom Dürer had met in Venice, came to Nuremberg for a while in 1500. He influenced Dürer with the new developments in perspective, anatomy and proportion, from which Dürer began his own studies. A series of extant drawings shows Dürer's experiments in human proportion, up to the famous engraving of Adam and Eve (1504) which showed his firm and detailed grasp of landscape had extended into the quality of flesh surfaces by the subtlest use of the graving-tool known to him. Two or three other technical masterpieces were produced up to 1505, when he made a second visit to Italy.
In Italy he turned his hand to painting, at first producing a series of works by tempera-painting on linen, including portraits and altarpieces, notably the Paumgartner altarpiece and the Adoration of the Magi. In early 1506 he returned to Venice, and stayed there until the spring of 1507. The occasion of this journey has been erroneously stated by Vasari. Dürer's engravings had by this time attained great popularity and had begun to be copied. In Venice he was given a valuable commission from the emigrant German community for the church of St. Bartholomew. The picture painted by Dürer was closer to the Italian style - the Adoration of the Virgin, also known as the Feast of Rose Garlands; it was subsequently acquired by the Emperor Rudolf II and taken to Prague. Other paintings Dürer produced in Venice include The Virgin and Child with the Goldfinch, a Christ disputing with the Doctors (apparently produced in a mere five days) and a number of smaller works.
Despite the regard in which he was held by the Venetians, Dürer was back in Nuremberg by mid-1507. He remained in Germany until 1520. His reputation spread all over Europe. He was on terms of friendship or friendly communication with all the masters of the age, and Raphael held himself honored in exchanging drawings with Dürer.
The years between his return from Venice and his journey to the Netherlands are commonly divided according to the type of work with which he was principally occupied. The first five years, 1507-1511, are pre-eminently the painting years of his life. In them, working with a vast number of preliminary drawings and studies, he produced what have been accounted his four best works in painting - Adam and Eve (1507), Virgin with the Iris (1508), the altarpiece the Assumption of the Virgin (1509), and the Adoration of the Trinity by all the Saints (1511). During this period he also completed the two woodcut series of the Great Passion and the Life of the Virgin, both published in 1511 together with a second edition of the Apocalypse series.
From 1511 to 1514, Dürer concentrated on engraving, both on wood and copper, but especially the latter. The major work he produced in this period was the thirty-seven subjects of the Little Passion on wood, published first in 1511, and a set of fifteen small copper-engravings on the same theme in 1512. In 1513 and 1514 appeared the three most famous of Dürer's works in copper-engraving, The Knight and Death (or simply The Knight, as he called it, 1513), Melancolia and St Jerome in his Study (both 1514).
In the years leading to 1520 he produced a wide range of works. Tempera on linen portraits in 1516. Engravings on many subjects, experiments in etching on plates of iron and zinc. A part of the Triumphal Gate and the Triumphal March for the Emperor Maximilian. He also did the marginal decorations for the Emperor's prayer-book and a portrait-drawing of the Emperor shortly before his death in 1519.
In the summer of 1520 the desire of Dürer to secure new patronage following the death of Maximilian and an outbreak of sickness in Nuremberg, gave occasion to his fourth and last journey. Together with his wife and her maid he set out in July for the Netherlands in order to be present at the coronation of the new Emperor Charles V. He journeyed by the Rhine, Cologne, and then to Antwerp, where he was well received and produced numerous drawings in silverpoint, chalk or charcoal. Besides going to Aachen for the coronation, he made excursions to Cologne, Nijmwegen, Hertogenbosch, Brussels, Bruges, Ghent and Zeeland. He finally returned home in July 1521, having caught an undetermined illness which afflicted him for the rest of his life.
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