The life of Albrecht Dürer
Albrecht Dürer was born in the city of Nuremburg in Germany during the German Renaissance period. The city has a rich history and is home to numerous museums such as the Albrecht-Dürer-Haus.
Albrecht Dürer the Elder was a goldsmith. The family was deeply rooted in matters of art. One of Albrecht Dürer’s brothers was a painter while the other was a goldsmith.
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Durer comes from Ajtósi, a Hungarian name meaning ‘door maker.’
Although Durer and his brothers had moved to Germany from Hungary, Durer signed his work ‘Türer’ because it was closely related to ‘Tür’, a door in German.
In art, humanism was heightened during the Renaissance period whereby artists shunned medieval scholasticism and went back to the traditional Roman and Greek school of thought. Durer’s work was influenced by Italian humanism and this led to an increased popularity of German humanism.
Durer’s self-paintings changed as he grew older and more experienced. He also wore different costumes and did various poses. As the artist travelled and met great mentors, he became more confident in his work over the years. Changes in costumes are indicative of Durer’s gradual rise in class.
The hand gesture in the self-portrait at 13 is indicative of his elegance as a talented artist. The medium used was a silver point. On the painting he write, "This I have drawn from myself from the looking-glass, in the year 1484, when I was still a child - Albrecht Dürer."
Durer could have used the thistle as a betrothal to Agnes Frey. The painting was regarded as the one of the first to be done by a Northern painter. Vellum was used on non-wall paintings. Johann Wofgang von Goethe thought the thistle was an aphrodisiac. The thistle is also present in the Small Fortune .
Imitatio Christi refers to following Jesus’ example. Durer uses this in his self-portrait of 1500.
In the self-portrait of 1500, Durer faces the viewer similar to the then paintings of Christ. He also gazes into eternity while also making a ‘blessing’ gesture with his hand.
His artworks
In Melancholia I , creativity is shown by the tools of craft and carpentry such as the saw and scales, while melancholy is indicated by the gloomy woman seated and staring face in hand.
Health and emotion was dependent on the balance between the four humors: black bile, yellow bile, phlegm, and blood. Imbalance between the humors caused disease.
In Knight, Death and the Devil , the fluidity of time is indicated by the hourglass, the skull represents the probability of death, the devil represents the evil in the world, and the dog shows truth and loyalty, while the lizard shows imminent danger. The painting indicates how human beings are faced by challenges in their quest to live virtuous lives.
Memento mori is the use of symbolism to indicate the inevitability of death. Examples are Albrecht Dürer’s Skull and Frans Hals’ Young Man with a Skull.
In Adam and Eve , Durer depicted the biblical couple at human scale where they were portrayed as nude in a forest, while in the Coat of Arms with a Skull , a bride is portrayed where a male surrogate of death stands behind her. Both paintings show how the fall of man occurred after the woman was tricked which led death.
Baldung Grien spent some years in Strasbourg where humanists were interested in the topic of witchcraft. He then developed these concepts to suit German art.
The Fall of Mankind is related to religion whereby by eating the forbidden fruit, Eve’s self-awareness was heightened and this makes her grimace when Adam tugs the branch that conceals her nakedness. The painting went against the Renaissance philosophy of humanism.
Baldung’s art of witches is representative of the witch-hunt activities that became common during the renaissance period. Interest in witch art was boosted by the publication of The Witches' Hammer by Heinrich Kramer, as well as the Catholic Church’s role in opposing the demonology concept.
Comparison and Contrast
The title of the painting is The Little Garden of Paradise by Upper Rhenish Master. The painting was created between 1410 and 1420. The physical dimensions are w33.4 x h26.3cm and the type of painting is Oakwood. The artist depicts an isolated scene (the corner of an enclosed garden) with Mary Mother of Jesus and the Child. The basis of the painter must have been what a father and philosopher of the church, Albertus Magnus of Cologne, called “hortus conclusus” meaning an enclosed garden. It is an illustration of Virgin Mary and the Child in an enclosed garden and accompanied by a few female saints. The garden symbolizes a phrase in the Songs of Solomon 4:12, ‘An enclosed garden is my sister, my spouse’. The ‘L’ painting is The Madonna of The Rose Garden by Martin Schongauer created in 1473. The painting is oil on panel religious painting which followed the Northern Renaissance style. The painting is a representation of a virgin holding a baby in a garden of roses. The garden in this context is the “enclosed garden referred to in the Songs of Solomon; “rose of Sharon… a lily among thistles…”. The virgin is symbolic to Mary the mother of Jesus sitting like a lily among thistles. The red theme represents the passion of Christ. The painting has been used in many churches as an expression of the catholic faith in Jesus and Hail Mary. The two paintings are similar in that they are a representation of Virgin Mary in the enclosed garden. While the Little Garden of Paradise painting shows peace and joy, the Madonna of The Rose Garden indicates the suffering and the passion of Jesus Christ.
The ‘R’ painting is the Senheim Alterpiece by Nikolaus hagenauer and Matthias Grunewald created between 1512 and 1516. The Isenheim Altarpiece has a complex construction consisting of three saints’ statues, to which six wings are attached - three on both sides. Four wings are painted and hinged while two are static and are only painted on one side which allows the viewers to change the display depending on the day. When all the wings are closed the theme displayed is crucifixion, when only one pair is open the display is annunciation of Jesus, nativity and the resurrection. The painting summarized the whole life of Jesus Christ; his annunciation, birth, nativity, passion death and the hope of resurrection. The painting relates to the written Biblical story of Jesus, his death and his resurrection. The ‘L’ painting is The Man of Sorrows between Four Angels by Master E.S. dated c. 1460. The painting is a Copper engraving, measuring 151 x 113 mm. The painting illustrates a redeemer with a crown of thorns and surrounded by four angels holding some items of Passion; cross, lance, sponge and the flagellation column. The painting represents Jesus as the man of sorrows during his crucifixion / passion. The instruments held by the angels represent the weapons he was injured with and the cross on which he was crucified. The angels might also be a representation of the fact that Jesus was betrayed by one of his own. The painting related to the passion death of Jesus Christ in the bible. The two paintings, R and L, are both religious and they depict the Passion of Jesus. However, the Isenheim Altarpiece also illustrates the annunciation of Jesus. The two paintings are also different in terms of style and medium. While the Isenheim Altarpiece is a sculpted alter, the Man of Sorrows between Four Angels is a copper engraving.
The paintings Sibbechai und Benaja (L) and Miraculous Draft if Fishes (R) both by Konrad Witz were part of the Heilsspiegel altarpiece and Peter's Altar Table, respectively, under the patronage of the Christian Church. The author contributed to Late Gothic art in the renaissance period. Sibbechai und Benaja was created in 1435 while Miraculous Draft if Fishes was painted 9 years later. Both art pieces were done as oil on wood panel paintings. In the Miraculous Draft if Fishes , the disciples recorded in the Gospel of John had partaken a successful fishing haul in the lake when Jesus Christ appeared to them. The resurrected Jesus had appeared as a strange and they were dismayed. Although the painting alludes to biblical times, Witz used the Geneva landscape as the background. The artist utilized the optics of reflection as can be shown by the reflection of object on the lake’s water. On the other hand, the Sibbechai und Benaja is depictive of Benaja and Sibbechai, two of King David’s most trusted allies. Benaja and Sibbechai were army commanders who helped defeat enemies and facilitated King Solomon’s ascendance to the throne. In the painting, they can be seen in the splendor of army attire while being feted in the king’s palace.
