séance de travail

The Fourth Knot, Albrecht Dürer, 15th-16th century, Harvard Art Museums: Prints

Harvard Art Museums/Fogg Museum, John Witt Randall Fund

Ehrenpforte (The Triumphal Arch of Maximilian I), Albrecht Dürer, 1515 (printed 1799), Minneapolis Institute of Art: Prints and Drawings

maroon leather binding with gilding trim; “ARC TRIOMPHAL D'APRES ALBERT DURER” on spine; colorful endpapers with green, grey, yellow, red and white spots with black; text pages followed by woodcuts of portions of fantastic triumphal archway with figures (some with names and coats of armor), scenes of battle and other vignettes, animals, text and sculptural and architectural elements; detached green silk ribbon bookmark (inserted between pages) The Triumphal Arch of Maximilian I is a landmark in the history of printmaking and an impressive early example of propaganda. At the time of its initial publication, The Triumphal Arch was the largest print that had ever been completed. Though Maximilian I was not rich enough to complete major architectural monuments, he had the vision to realize the influence of a printed equivalent that could assert his right to rule as well as his ability to do so. Fully assembled, the print measures more than eleven feet tall by nine feet wide. With this acquisition, Mia will have acquired in a remarkably short span of time the three great giant woodcuts of the Renaissance: Jacopo de’ Barbari’s View of Venice, Titan’s Red Sea, and Dürer’s Triumphal Arch. Size: 26 ¾ x 19 5/8 x 1 in. (67.95 x 49.85 x 2.54 cm) (closed) Medium: Woodcuts, etchings, letterpress

Agony in the Garden, Albrecht Dürer, 1515, Art Institute of Chicago: Prints and Drawings

Gift of Mrs. Morris Woolf Size: 221 x 154 mm Medium: Etching in black on ivory laid paper

The Men’s Bath House, Albrecht Dürer, c. 1496-1497, Cleveland Museum of Art: Prints

The Men’s Bath House could be a simple genre scene or be interpreted as an allegory. The bathers could represent the four temperaments, each of whom is undergoing an appropriate purgative treatment: for melancholic gloom, the figure leaning on the post at the left listens to music; for phlegmatic sluggishness, the figure at the right drinks wine; for choleric cruelty, the figure in the left foreground will rub himself with a scraping knife; and for sanguine sensuality, the figure in the right foreground inhales the fragrance of a flower. Dürer produced many large woodcuts in the 1490s that had striking pictorial effects. Several of these are secular in content, reflecting a growing public interest in nonreligious subjects. A bath house was a fairly common image at the time but Dürer has treated the scene with great originality. He represented the male figure at different ages and in contrasting positions, a theme with which he was then preoccupied. The outdoor setting is unusual and allows for a landscape background which adds a sense of deep space. Medium: woodcut

The Coat-of-Arms with the Skull, Albrecht Dürer, 1503, Minneapolis Institute of Art: Prints and Drawings

Size: 8 11/16 x 6 ¼ in. (22.07 x 15.88 cm) (image) Medium: Engraving

Christ Bearing the Cross, Albrecht Dürer, 1509, Harvard Art Museums: Prints

Harvard Art Museums/Fogg Museum, Gray Collection of Engravings Fund Size: block: 12.7 x 9.7 cm (5 x 3 13/16 in.)

The Bag-Piper, Albrecht Dürer, 1514, Art Institute of Chicago: Prints and Drawings

The Charles Deering Collection Size: 114 x 71 mm (image/sheet) Medium: Engraving in black on ivory laid paper

Revelation of St. John: The Adoration of the Lamb, Albrecht Dürer, 1511, Cleveland Museum of Art: Prints

Medium: woodcut

The Sea Monster, Albrecht Dürer, c. 1498, Minneapolis Institute of Art: Prints and Drawings

The elaborately coiffed woman seems considerably less perturbed by her abduction than does the turbaned man approaching the water’s edge. This image directly corresponds to no known story from classical mythology and may be rooted in the tales of sea monsters that abounded during the Age of Discovery. Just as the monster comprises characteristics of various creatures, the background landscape combines elements of the castle of Nuremberg with Alpine views recorded on the artist’s travels far from home. Size: 10 1/8 x 7 9/16 in. (25.72 x 19.21 cm) (image) Medium: Engraving

The Last Judgement, Albrecht Dürer, c. 1510, Minneapolis Institute of Art: Prints and Drawings

Size: 5 x 3 13/16 in. (12.7 x 9.68 cm) (sheet) Medium: Woodcut

The Attempted Martyrdom of Saint John, in a Cauldron of Burning Oil, Under Domitian, Albrecht Dürer, 1498 (1511 edition), Minneapolis Institute of Art: Prints and Drawings

Edition of 1511, Latin text Size: 15 ½ x 11 1/16 in. (39.37 x 28.1 cm) (image) Medium: Woodcut