By Jane Campbell Hutchison
Hutchison's e-book is a whole consultant on Durer and the examine on his paintings, his historic import and his aesthetic legacy.
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Extra resources for Albrecht Durer: A Guide to Research (Artist Resource Manuals)
Indicates additional that the article she holds, often pointed out as a herald’s wand, can have been the artist’s misinterpretation of the thyrsus carried via maenads at bacchanalian revels in Antiquity. 370. Hüsgen, Heinrich Sebastian. Raisonnierendes Verzeichnis aller Kupfer- und Eisenstiche, so durch die geschickte Hand Albrecht Dürers selbsten verfertigt worden; ans Licht gestellt, und in eine systematische Ordnung gebracht, von einem Freund der schönen Wissenschaften, Frankfurt am Main/Leipzig: Ioh. Georg Fleischers Buchhandlung, 1778. an immense early catalogue raisonné of 1 hundred of Dürer’s intaglio prints (no woodcuts), with measurements in premetric devices and a listing of copies, compiled within the eighteenth century through Goethe’s pal. Hüsgen (1746–1807) used to be not just the landlord of a big number of Dürer’s prints, yet was once additionally the present possessor of the well-known lock of Dürer’s hair, bring to an end after the artist’s demise and despatched to his former scholar Hans Baldung Grien. The life of this scholarly catalogue, in addition to an analogous author’s observe at the reproduction of the Heller Altar (Frankfurt, Johannes Byrhoffer, 1790) are facts sufficient that the allegations of Tieck and Wackenroder, that Dürer have been “forgotten” by means of the 120 ALBRECHT DÜRER: A advisor to analyze overdue eighteenth century, have been Romantic nonsense. Hüsgen’s print assortment had handed intact to Edward Steinle by way of 1865, and was once obtained in 1873 via the Vienna Academy. (See Moriz Thausing, “Hüsgen’s Dürer-Sammlung und das Schicksal von Dürers sterblichen Überresten,” in Zeitschrift für bildende Kunst, nine (1874), 321–333; and an identical author’s overview of the Hüsgen assortment in Kunstchronik, complement to vol. 10 (1874) of Zeitschrift f. bild. Kunst, p. 14. ) 371. Hüsken, Wim. “The Michelfeldt Tapestry and modern eu literature. ethical classes at the rule of deceit. ” Dürer and His tradition, 69–90. Eds. Dagmer Eichberger and Charles Zika. Cambridge/New York/Melbourne: Cambridge collage Press, 1998. one of many convention papers from the 1994 Melbourne symposium. the writer is Lecturer in past due medieval and early Renaissance Dutch literature on the collage of Nijmegen. He offers the following with the long-disputed three-woodcut frieze acknowledged to were encouraged by means of “einem alten Tebich” obvious at Schloss Michelfeldt am Rhein in mid-Lent 1524. topics represented are Time turning the Wheel of existence; Justice and Deceit (or The Corrupt Judge); fact and cause. Hüsken experiences the fundamental literature, either professional and con, facing the attribution to Dürer, and relates the iconography to Sebastian Brant, Hans Sachs, and the imagery of Carneval, or “the global upside down,” noting that Dürer is related to have obvious the unique tapestry in the course of Carnival in 1524. 372. Hütt, Wolfgang. Albrecht Dürer 1471 bis 1528, Das gesamte graphische Werk, Munich: 1970. entire version of the artist’s photo artwork, together with drawings in addition to prints. 373. ——. “Verhältnis und Beitrag Albrecht Dürers zur Kunst der Reformationszeit. ” Bildende Kunst (1971):235–239.