albrecht dürer le rhinocéros

Find more prominent pieces of animal painting at Wikiart.org – best visual art database. [36] Janssen decided to re-issue the block with the addition of a new tone block printed in a variety of colours, olive-green and dark green, as well as blue-grey. 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. It sailed on the Nossa Senhora da Ajuda,[9] which left Goa in January 1515. Manfred Klein. Albrecht Durer. Rhinocerus (Rhinoceros) by Albrecht Dürer. He did this until until he was 15 and started training with Michael Wolgemut. 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. The excitement of Europe’s expanding horizons and ambitions as well as its increasing knowledge and understanding of the wider world and of nature. It was regarded by Westerners as a true representation of a rhinoceros into the late 18th century. Artist: Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg) Date: 1515. The rhinoceros’ 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. Provenance. Dürer produced a first edition of his woodcut in 1515, in the first state, which is distinguished by only five lines of text in the heading. David nalle: Albrecht Durer Gothic. [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. Albrecht Dürer never saw a rhinoceros in real life. From David Tunick, Inc., Albrecht Dürer, The Rhinoceros (1515), Woodcut on laid paper, 8 1/2 × 11 3/4 in [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. His form is here represented. (23.8 x 29.9 cm) Classification: Prints. After the fall of the Roman Empire, Asian animals previously imported for circuses and gladitorial events became scarce or non-existent in Western Europe. King Francis I of France was returning from Saint-Maximin-la-Sainte-Baume in Provence, and requested a viewing of the beast. 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. It lives at the Metropolitan Museum of Art in New York. This famous sketch of a rhinoceros was created in 1515 by the influential German artist, Albrecht Dürer, reflecting the growing interest in foreign curiosities that had emerged in tangent with the overseas voyages of exploration, commerce and conquest by the Spanish and Portuguese. Albrecht Dürer The Rhinoceros (B. He also assures the viewer that “This is an accurate representation”. Credit Line: Gift of Junius Spencer Morgan, 1919. It has been said of Dürer's woodcut: "probably no animal picture has exerted such a profound influence on the arts".[7]. Dürer’s Rhinoceros is a woodcut created by Albrecht Dürer in 1515 A.D. As an illustration of an animal at the center of a famous series of events, the woodcut was highly popular in the artist’s lifetime. His woodcuts had made him one of the most famous and successful artists in Europe. [2] Dürer never saw the actual rhinoceros, which was the first living example seen in Europe since Roman times. [5][6] It is possible that a suit of armour was forged for the rhinoceros's fight against the elephant in Portugal, and that these features depicted by Dürer are parts of the armour. All Rights Reserved. Good surviving impressions are rare, however. The rhinoceros travelled in a ship full of spices. English: The Rhinoceros is a woodcut Albrecht Dürer made from a description provided him. 241; S.M.S. A duel between a rhinocerus and an elephant? Brought from India to the great and powerful King Emanuel of Portugal at Lisbon a live animal called a rhinoceros. The ruler of Gujarat, Sultan Muzafar II (1511-26) had presented it to Alfonso d'Albuquerque, the governor of Portuguese India. [25][26] and printed a reversed reflection of it.[20][27]. His skill can be seen in the delicate shading and the intricate patterning of the animal’s hide. The rhinoceros’ 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. Melvyn Bragg and guests discuss the great German artist Albrecht Dürer (1471-1528) who achieved fame throughout Europe for the power of his images. 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. Albrecht Dürer, a German painter and printmaker living in Nuremberg, was captivated by the strangeness of the animal. 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. The Rhinoceros. 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 what appear to be rivets along the seams. It was to be housed in the King’s menagerie at the Ribeira Palace in Lisbon. The rhinoceros is so well-armed that the elephant cannot harm it. The earliest known image of the animal illustrates a poemetto by Florentine Giovanni Giacomo Penni, published in Rome on 13 July 1515, fewer than eight weeks after its arrival in Lisbon. [2] In late 1515, the King of Portugal, Manuel I, sent the animal as a gift for Pope Leo X, but it died in a shipwreck off the coast of Italy in early 1516. 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. 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. 241; S.M.S. Both of these paintings were more accurate than Dürer's woodcut, and a more realistic conception of the rhinoceros gradually started to displace Dürer's image in the public imagination. 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. On Trinity Sunday, 3 June, Manuel arranged a fight with a young elephant from his collection, to test the account by Pliny the Elder that the elephant and the rhinoceros are bitter enemies. It is the colour of a speckled tortoise,[28] and is almost entirely covered with thick scales. The rhinoceros, chained and shackled to the deck to keep it under control, was unable to swim to safety and drowned. fr:Utilisateur:Christophe.moustier Christophe.moustier ( fr:Discussion_Utilisateur:Christophe.moustier Discuter) . In the context of the Renaissance, it was a piece of classical antiquity which had been rediscovered, like a statue or an inscription. Cole, F.J. (Francis Joseph), "The History of Albrecht Durer's Rhinoceros in Zoological Literature," essay in Underwood, E. Ashworth (ed. [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." He made a pen and ink drawing 136 (Grav. Meder 1932 / Dürer Katalog (273.1) Bartsch / Le Peintre graveur (VII.147.136) Dodgson 1903, 1911 / Catalogue of Early German and Flemish Woodcuts in the BM, 2 vols (I.307.125) (first edition) Schoch 2001-04 / Albrecht Dürer, das druckgraphische Werk. The thick folded skin of the Indian rhinoceros has been portrayed as something more like armour plating. Eventually, it was supplanted by more realistic drawings and paintings, particularly those of Clara the rhinoceros, who toured Europe in the 1740s and 1750s. His decision to issue the image as a woodcut made it accessible to many more people eager to experience something of that excitement. In early 1514, Afonso de Albuquerque, governor of Portuguese India, sent ambassadors to Sultan Muzaffar Shah II, ruler of Cambay (modern Gujarat), to seek permission to build a fort on the island of Diu. [11], The block passed into the hands of the Amsterdam printer and cartographer Willem Janssen (also called Willem Blaeu amongst other names). 473x327 (35929 octets) ( fr:Rhinocéros Rhinocéros dessiné par fr:Albrecht_Dürer Albrecht Dürer en fr:1515 1515. 23.8 cm 29.9 cm. It is thought to have sold as many as 5,000 copies in Durer’s lifetime and was to become the iconic image that Europeans turned to describe the rhinoceros until well into the eighteenth century. Dürer was born in Germany in 1471 and in his teenage years he became an apprentice to his father. 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. Schulfilm zu "Rhinocerus", einem Werk des Nürnberger Künstlers Albrecht Dürer aus dem Jahre 1515. When Durer was young he le arned how to be a goldsmith like his father. But Durer’s “Rhinoceros” is more than just the depiction of an exotic beast. Discover and collect art from Albrecht Dürer’s iconic The Rhinoceros series and more. [37][38] The resulting chiaroscuro woodcut, which entirely omitted the text, was published after 1620. ‎Melvyn Bragg and guests discuss the great German artist Albrecht Dürer (1471-1528) who achieved fame throughout Europe for the power of his images. It is a world in which the nations of Europe were competing not just in Europe itself but across the globe in Asia as well as the Americas. 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. [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. [23] Dürer – who was acquainted with the Portuguese community of the factory at Antwerp[24] – saw the second letter and sketch in Nuremberg. The animal had been shipped to Lisbon in 1515 as a gift to King Manuel I of Portugal by Afonso de Albequerque the governor of Portuguese India. A blackletter. Original upload log (suppr) (actu) 17 juin 2005 à 22:56 . 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. Albrecht Dürer. Dürer's Rhinoceros is the name commonly given to a woodcut executed by German painter and printmaker Albrecht Dürer in 1515. [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. [43] The rhinoceros was depicted in numerous other paintings and sculptures and became a popular decoration for porcelain. Dimensions: Height: 212 millimeters (woodcut) and Width: 296 millimeters (woodcut) The work I have chosen from the Northern Renaissance is Rhinocerus (Rhinoceros) by Albrecht Dürer. It is an emblem of the world of his time. "Albrecht Dürer The Rhinoceros (B. Dimensions: image: 8 3/8 x 11 5/8 in. [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". Manuel decided to give the rhinoceros as a gift to the Medici Pope Leo X. . Rhinoceros. Medium: Woodcut. Dürer hatte das Nashorn selbst nie gesehen. This image of a gift from a colonial governor to his king reflects a confidently expansionist Europe intent on bringing what it saw as its own superior civilisation to a world outside Europe that it thought savage and ignorant. Rhinoceros. British Museum London, United Kingdom. In particular, Oudry's painting was the inspiration for a plate in Buffon's encyclopedic Histoire naturelle, which was widely copied. [11] Many further printings followed after Dürer's death in 1528, including two in the 1540s, and two more in the late 16th century. It is the mortal enemy of the elephant. [37] This was the seventh of the eight editions in all of the print. [3][4], Dürer's woodcut is not an entirely accurate representation of a rhinoceros. ^ Some sources erroneously say 1513, copying a typographical error made by Dürer in one of his original drawings and perpetuated in his woodcut. [48], Until the late 1930s, Dürer's image appeared in school textbooks in Germany as a faithful image of the rhinoceros;[7] and it remains a powerful artistic influence. 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. The mission returned without an agreement, but diplomatic gifts were exchanged, including the rhinoceros. The woodcut was, per Quammen, p.204, cut on the block by a specialist craftsman known as a, Rough translation of the German original. 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. 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. Albrecht Durer. [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. Curator Susan Dackerman reveals the story behind the creation of Albrecht Dürer's famous "Rhinoceros" woodcut. [10] The ship, captained by Francisco Pereira Coutinho,[11] and two companion vessels, all loaded with exotic spices, sailed across the Indian Ocean, around the Cape of Good Hope and north through the Atlantic, stopping briefly in Mozambique, Saint Helena and the Azores. Whereas, in the past, the study of zoology had been guided by classical authorities, there was a growing sense that firsthand observation was also of vital importance. 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. La imagen se basaba en … Despite its anatomical inaccuracies, Dürer's woodcut became very popular in Europe and was copied many times in the following three centuries. See Clarke, p.19, for a photograph of a gargoyle. 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. Deutsch: Nürnberg. To the modern eye it does not appear to be a very realistic depiction of a rhinoceros. 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. It has a strong pointed horn on the tip of its nose, which it sharpens on stones. 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. He places a small twisted horn on its back and gives it scaly legs and saw-like rear quarters. Only one impression (example) of Burgkmair's image has survived,[34] whereas Dürer's print survives in many impressions. [19][20], Valentim Fernandes, a Moravian merchant and printer, saw the rhinoceros in Lisbon shortly after it arrived and described it in a newsletter sent to the Nuremberg community of merchants in June 1515. The image is available via Institutional Open Content, and tagged Animals. Español : El Rinoceronte de Durero es el nombre que recibe un grabado xilográfico creado por el pintor y grabador alemán Alberto Durero en 1515. [44], The pre-eminent position of Dürer's image and its derivatives declined from the mid-to-late-18th century when more live rhinoceroses were transported to Europe, shown to the curious public, and depicted in more accurate representations. [42] A similar rhinoceros, in relief, decorates a panel in one of the bronze west doors of Pisa Cathedral. Albrecht Dürer (1471-1528), « Le Rhinocerus de Lisbonne », 1515, xylographie sur papier, 21,4×29,8. The carcass of the rhinoceros was recovered near Villefranche, and its hide was returned to Lisbon, where it was stuffed. Dürer's Rhinoceros is the name commonly given to a woodcut executed by German painter and printmaker Albrecht Dürer in 1515. He also notes that the skin of a rhinoceros is rougher than it visually appears and that such plates and scales portray this non-visual information to a degree.

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