Manfred Klein. Provenance. In particular, Oudry's painting was the inspiration for a plate in Buffon's encyclopedic Histoire naturelle, which was widely copied. The mission returned without an agreement, but diplomatic gifts were exchanged, including the rhinoceros. [11] Many further printings followed after Dürer's death in 1528, including two in the 1540s, and two more in the late 16th century. A rhinoceros that was clearly based on Dürer's woodcut was chosen by Alessandro de' Medici as his emblem in June 1536, with the motto "Non vuelvo sin vencer" (old Spanish for "I shall not return without victory"). After a relatively fast voyage of 120 days, the rhinoceros was finally unloaded in Portugal, near the site where the Manueline Belém Tower was under construction. (21.3 x 29.5 cm) trimmed to block line except at top sheet: 9 3/8 x 11 3/4 in. Home Biography Rhinoceros Legacy of Durer Bibliography Biography Education. The commercial success of Durerâs image reflected the excitement that had been created by the animalâs arrival. [36] Images derived from it were included in naturalist texts, including Sebastian Münster's Cosmographiae (1544), Conrad Gessner's Historiae Animalium (1551), Edward Topsell's Histoire of Foure-footed Beastes (1607) and many others. On the other hand, his depiction of the texture may represent dermatitis induced by the rhinoceros' close confinement during the four-month journey by ship from India to Portugal. [1] The image was based on a written description and brief sketch by an unknown artist of an Indian rhinoceros that had arrived in Lisbon earlier that year. He depicts an animal with hard plates that cover its body like sheets of armour, with a gorget at the throat, a solid-looking breastplate, and rivets along the seams. He made a pen and ink drawing It was housed in King Manuel's menagerie at the Ribeira Palace in Lisbon, separate from his elephants and other large beasts at the Estaus Palace. To the modern eye it does not appear to be a very realistic depiction of a rhinoceros. [17] The vessel passed near Marseille in early 1516. [33] His image is truer to life, omitting Dürer's more fanciful additions and including the shackles and chain used to restrain the rhinoceros;[33] however, Dürer's woodcut is more powerful and eclipsed Burgkmair's in popularity. Medium: Woodcut. Rhinoceros Albrecht Dürer 1515. The Rhinoceros is a Northern Renaissance Wood Block Print Print created by Albrecht Dürer in 1515. In any event, there was not the popular sensation in Rome that the living beast had caused in Lisbon, although a rhinoceros was depicted in contemporary paintings in Rome by Giovanni da Udine and Raphael. It's fair to say that this woodcut is not a fully accurate representation of an Indian rhinoceros through its depiction of the animal being covered in what looks like armor. A live rhinoceros was not seen again in Europe until a second specimen, named Abada, arrived from India at the court of Sebastian of Portugal in 1577, being later inherited by Philip II of Spain around 1580. Dürer's "Rhinoceros" was part of the exhibition "Prints and the Pursuit of Knowledge in Early Modern Europe," which was on view September 6–December 10, 2011 at the Arthur M. Sackler Museum. 241; S.M.S. It has been said of Dürer's woodcut: "probably no animal picture has exerted such a profound influence on the arts".[7]. [22] A second letter of unknown authorship was sent from Lisbon to Nuremberg at around the same time, enclosing a sketch by an unknown artist. [42] A similar rhinoceros, in relief, decorates a panel in one of the bronze west doors of Pisa Cathedral. The popularity of the inaccurate Dürer image remained undiminished despite an Indian rhinoceros spending eight years in Madrid from 1580 to 1588 (although a few examples of a print of the Madrid rhinoceros sketched by Philippe Galle in Antwerp in 1586, and derivative works, have survived), and the exhibition of a live rhinoceros in London a century later, from 1684–86, and of a second individual after 1739. Gilles Le Corre: 1525 Durer Initials (2010). The image is available via Institutional Open Content, and tagged Animals. His decision to issue the image as a woodcut made it accessible to many more people eager to experience something of that excitement. Accession Number: 19.73.159. Source. Although the letterpress text atop this broadsheet suggests otherwise, he in fact copied the woodcut from a drawing and a description given by an eyewitness before the ship carrying this gift for the king of Portugal sank on the way from India. [40][50], Some sources erroneously say 1513, copying a typographical error made by Dürer in one of his original drawings and perpetuated in his woodcut. Albrecht Dürer never saw a rhinoceros in real life. [37][38] The resulting chiaroscuro woodcut, which entirely omitted the text, was published after 1620. English: The Rhinoceros is a woodcut Albrecht Dürer made from a description provided him. From David Tunick, Inc., Albrecht Dürer, The Rhinoceros (1515), Woodcut on laid paper, 8 1/2 × 11 3/4 in Artist: Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg) Date: 1515. Burgkmair corresponded with merchants in Lisbon and Nuremberg, but it is not clear whether he had access to a letter or sketch as Dürer did, perhaps even Dürer's sources, or saw the animal himself in Portugal. But Durerâs âRhinocerosâ is more than just the depiction of an exotic beast. Durer’s text at the top of the woodcut confirms the impression that the image gives of a powerful fighting beast feared even by elephants. Dürer may have anticipated this and deliberately chosen to create a woodcut, rather than a more refined and detailed engraving, as this was cheaper to produce and more copies could be printed. "Albrecht Dürer The Rhinoceros (B. The thick folded skin of the Indian rhinoceros has been portrayed as something more like armour plating. Albrecht Dürer (1471-1528), « Le Rhinocerus de Lisbonne », 1515, xylographie sur papier, 21,4×29,8. [2] Dürer never saw the actual rhinoceros, which was the first living example seen in Europe since Roman times. The previous year, the Pope had been very pleased with Manuel's gift of a white elephant, also from India, which the Pope had named Hanno. Bois) (Bartsch's Le Peintre Graveur) 75 (A History of the World in 100 Objects) 160 (Albrecht Dürer: Complete woodcuts) C. D. 125 (Catalogue of Early German and Flemish Woodcuts in the British Museum, Vol. Albuquerque passed the gift on to Dom Manuel I, the king of Portugal. Extremely popular, it went through eight editions. Martin Lorenz and Joan Pastor: VLNL TpDuro (2019). Together with other precious gifts of silver plate and spices, the rhinoceros, with its new collar of green velvet decorated with flowers, embarked in December 1515 for the voyage from the Tagus to Rome. History. It was regarded by Westerners as a true representation of a rhinoceros into the late 18th century. The tower was later decorated with gargoyles shaped as rhinoceros heads under its corbels. His skill can be seen in the delicate shading and the intricate patterning of the animalâs hide. None of these features is present in a real rhinoceros,[5][6] although the Indian rhinoceros does have deep folds in its skin that can look like armor from a distance. © www.AlbrechtDurer.org 2019. The Portuguese vessel stopped briefly at an island off Marseilles,[18] where the rhinoceros disembarked to be beheld by the King on 24 January. Dürer's Rhinoceros is the name commonly given to a woodcut executed by German painter and printmaker Albrecht Dürer in 1515. Dürer never saw the animal himself, but the woodcut he prepared became so famous that for two centuries it was the only rhinoceros Europeans ever saw. A fine example was sold at Christie's New York in 2013 for $866,500, setting a new auction record for the artist. Dürer hatte das Nashorn selbst nie gesehen. Durer was a master of the woodcut and had brought greater artistic vision and intellectual depth to the medium. Brought from India to the great and powerful King Emanuel of Portugal at Lisbon a live animal called a rhinoceros. After two years he left the apprenticeship with his father to be … British Museum London, United Kingdom. His woodcuts had made him one of the most famous and successful artists in Europe. The rhinoceros travelled in a ship full of spices. [35] Later printings have six lines of descriptive text. (Bedini, p.121.). The King was keen to curry favour with the Pope, to maintain the papal grants of exclusive possession to the new lands that his naval forces had been exploring in the Far East since Vasco da Gama discovered the sea route to India around Africa in 1498. [46] In 1790, James Bruce's travelogue Travels to discover the source of the Nile dismissed Dürer's work as "wonderfully ill-executed in all its parts" and "the origin of all the monstrous forms under which that animal has been painted, ever since". 136; M., Holl. ^ Some sources erroneously say 1513, copying a typographical error made by Dürer in one of his original drawings and perpetuated in his woodcut. Even so, Bruce's own illustration of the African white rhinoceros, which is noticeably different in appearance to the Indian rhinoceros, still shares conspicuous inaccuracies with Dürer's work. It is the mortal enemy of the elephant. Le Rhinocéros de Dürer est une gravure sur bois d’Albrecht Dürer datée de 1515.L’image est fondée sur une description écrite et un bref croquis par un artiste inconnu d’un rhinocéros indien (Rhinoceros unicornis) débarqué à Lisbonne plus tôt dans l’année. He also assures the viewer that “This is an accurate representation”. It is thought to have sold as many as 5,000 copies in Durerâs lifetime and was to become the iconic image that Europeans turned to describe the rhinoceros until well into the eighteenth century. He made his own drawing of the animal and soon produced the woodcut that proved to be one of the most commercially successful of its time. Le dessin est reporté sur le bois, puis gravé à la pointe et au burin, ensuite le tirage de la gravure fait que le sens est inversé sur la feuille par rapport au dessin initial. It sailed on the Nossa Senhora da Ajuda,[9] which left Goa in January 1515. If a stuffed rhinoceros did arrive in Rome, its fate remains unknown: it might have been removed to Florence by the Medici or destroyed in the 1527 sack of Rome. fr:Utilisateur:Christophe.moustier Christophe.moustier ( fr:Discussion_Utilisateur:Christophe.moustier Discuter) . The elephant is afraid of the rhinoceros, for, when they meet, the rhinoceros charges with its head between its front legs and rips open the elephant's stomach, against which the elephant is unable to defend itself. Title: The Rhinoceros. Albrecht Durer. His form is here represented. [47] Semiotician Umberto Eco argues (fetching the idea from E.H. Gombrich, Art and Illusion: A Study in the Psychology of Pictorial Representation, 1961) that Dürer's "scales and imbricated plates" became a necessary element of depicting the animal, even to those who might know better, because "they knew that only these conventionalized graphic signs could denote «rhinoceros» to the person interpreting the iconic sign." The Rhinoceros. [3][4], Dürer's woodcut is not an entirely accurate representation of a rhinoceros. 1. [30] Alternatively, Dürer's "armour" may represent the heavy folds of thick skin of an Indian rhinoceros, or, as with the other inaccuracies, may simply be misunderstandings or creative additions by Dürer. Its arrival caused a sensation and attracted crowds of visitors for several months eager to see for themselves an exotic creature from antiquity that had been newly rediscovered. It is the size of an elephant but has shorter legs and is almost invulnerable. (He never personally saw one.) 241; S.M.S. The Rhinoceros, which must have seemed like a mythical beast to those that viewed it first in Lisbon, would have been a potent symbol of that exotic, untamed, outside world to which Europe was bringing order and enlightenment. Melvyn Bragg and guests discuss the great German artist Albrecht Dürer (1471-1528) who achieved fame throughout Europe for the power of his images. Cet animal avait été offert par le roi du Portugal Manuel Ier au pape Leo X. Creator/Artist; Name: Dürer, Albrecht: Date of birth/death: 1471-05-21: 1528-04-06: Location of birth/death: Deutsch: Nürnberg. By this time the block was very damaged; the border lines were chipped, there were numerous woodworm holes and a pronounced crack had developed through the rhino's legs. A blackletter. ‘Rhinoceros’ was created in 1515 by Albrecht Durer in Northern Renaissance style. Original upload log (suppr) (actu) 17 juin 2005 à 22:56 . It was one of the inspirations for Salvador Dalí; a reproduction of the woodcut hung in his childhood home and he used the image in several of his works. [8] At that time, the rulers of different countries would occasionally send each other exotic animals to be kept in a menagerie. Albrecht Dürer The Rhinoceros (B. See also a French translation in the doctoral thesis of Bruno Faidutti at l', Group of History and Theory of Science – Dürer's Rhinoceros, História do famoso rhinocerus de Albrecht Dürer, "Albrecht Dürer's Rhinoceros, a drawing and woodcut", The Durer Rhinoceros - Masterpieces of the British Museum, File:Durer's Rhinoceros on Cathedral Door, Pisa C17th.jpg, "Albrecht Dürer: Masterpieces from a Private Collection", Joachim and Anne Meeting at the Golden Gate, Portrait of the Artist's Mother at the Age of 63, Colossal quartzite statue of Amenhotep III, Amun in the form of a ram protecting King Taharqa, https://en.wikipedia.org/w/index.php?title=Dürer%27s_Rhinoceros&oldid=996864863, Prints and drawings in the British Museum, Articles with French-language sources (fr), Articles with Portuguese-language sources (pt), Wikipedia articles with WorldCat-VIAF identifiers, Creative Commons Attribution-ShareAlike License. Google Arts & Culture features content from over 2000 leading museums and archives who have partnered with the Google Cultural Institute to bring the world's treasures online. The carcass of the rhinoceros was recovered near Villefranche, and its hide was returned to Lisbon, where it was stuffed. Español : El Rinoceronte de Durero es el nombre que recibe un grabado xilográfico creado por el pintor y grabador alemán Alberto Durero en 1515. Albrecht Dürer Rhinoceros. None of these features is present in a real rhinoceros. [1] The image is based on a written description and brief sketch by an unknown artist of an Indian rhinoceros that had arrived in Lisbon in 1515. The rhinocerosâ horn is much larger and imposing than in nature and, indeed, Durer shows the animal as having a second, smaller, spiral horn on its back. Dürer n’a jamais observé ce rhinocéros qui était le premier individu vivant vu en Europe depuis l’époque romaine. Albrecht Durer. He also assures the viewer that âThis is an accurate representationâ. After the fall of the Roman Empire, Asian animals previously imported for circuses and gladitorial events became scarce or non-existent in Western Europe. Dürer’s depiction of the animal shaped the European image of an Indian rhinoceros right up to the mid 18th century, when another specimen arrived in Europe. Schulfilm zu "Rhinocerus", einem Werk des Nürnberger Künstlers Albrecht Dürer aus dem Jahre 1515. On 20 May 1515, an Indian rhinoceros arrived in Lisbon from the Far East. Albrecht Dürer The Rhinoceros woodcut with letterpress text, 1515, on laid paper, watermark Anchor in a Circle (M. 171), a good impression of this rare and important woodcut, first edition (of eight), with the crack in the block just beginning to show in the right hind leg, with the complete letterpress text above, with 3-5 mm. 23.8 cm 29.9 cm. It was to be housed in the Kingâs menagerie at the Ribeira Palace in Lisbon. [12] A rhinoceros had not been seen in Europe since Roman times: it had become something of a mythical beast, occasionally conflated in bestiaries with the "monoceros" (unicorn), so the arrival of a living example created a sensation. Dürer's Rhinoceros is the name commonly given to a woodcut executed by German painter and printmaker Albrecht Dürer in 1515. [37] This was the seventh of the eight editions in all of the print. Rhinoceros. After resuming its journey, the ship was wrecked in a sudden storm as it passed through the narrows of Porto Venere, north of La Spezia on the coast of Liguria. [49], Although very popular, few prints have survived and impressions of the first edition are very rare. [23] Dürer – who was acquainted with the Portuguese community of the factory at Antwerp[24] – saw the second letter and sketch in Nuremberg. [43] The rhinoceros was depicted in numerous other paintings and sculptures and became a popular decoration for porcelain. The geometrical overlays reminiscent of Duerer are another recurrent theme in Manfred Klein's work. [25][26] and printed a reversed reflection of it.[20][27]. This may be Dürer's attempt to reflect the rough and almost hairless hide of the Indian rhinoceros, which has wart-like bumps covering its upper legs and shoulders.
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