Citation link:
https://digi.ub.uni-heidelberg.de/diglit/duerer_society1898/0016
Court, though it was, no doubt, sent to Germany and cut on the wood either at Nuremberg or
Augsburg. The name of Christoph Amberger has recently been suggested (by H. A. Schmid)
as the designer of the woodcut, but this attribution is not likely to find acceptance. The portrait,
whoever drew it, is one of singular charm, and the attribution to Durer has done his reputation
no injury.
xxi. y
Albrecht Altdorfer. The Holy Family at the Fountain. b. ^9.
Repoduction from the impression in the British Museum (Mitchell Collection). (9 x yin.)
Albrecht Altdorfer, painter, engraver and architect, one of the most original artists of
Durer’s time, and chief of the Bavarian School, was born probably about 1480. Nothing is known
of his early life. He settled at Regensburg (Ratisbon),. and remained there as an influential
citizen and architect to the municipality till he died in 1548. His keen interest in architecture
shows itself in many of his engravings, but nowhere more strongly than in the delightful
woodcut here reproduced. He was also a born painter, and a pioneer in the development of
landscape, both in painting and etching. He was fond of romantic scenes, mountains and pine
forests, sunsets and stormy skies. We see the painter, not the mere draughtsman, in the
picturesque lighting and composition of his designs in black and white. He engraved and
etched more than a hundred plates, many of which are devoted to ornament (Altdorfer was a
collector of silver cups), others to religious and mythological subjects. In the latter he shows
the influence of Italian art, not the great art of the Quattro-Cento which Durer studied, but the
art of Marcantonio. In this part of his work Altdorfer ranks with the Little Masters, and not
with the best of them. He is more truly German and original in his woodcuts, about seventy
in number, of which forty form a connected series: “ The Fall and Redemption of Man.” Unlike
most of the artists of his day, he did not illustrate books. Recent criticism has attributed to him,
with great plausibility, a share in the Triumphal Procession and Triumphal Arch of Maximilian, in
the latter of which the older critics saw one hand only, that of Durer. He is not known to
have had personal relations with the Nuremberg Master, but it is clear that he learned much from
him, though he does not approach him in his drawing of the human figure and countenance.
XXII.
Hans Springinklee. St. Wilgefortis and the Fiddler. 193.
Reproduction from the impression in the Bodleian Library, Oxford. Douce Collection of Woodcuts.
Vol. II/., No. 13. (11T x 8^in.)
Springinklee was a pupil of Durer, in whose house he lived at Nuremberg. Nothing is
known of his biography. He is said by tradition to have died in 1^40. He is best known by his
G
Augsburg. The name of Christoph Amberger has recently been suggested (by H. A. Schmid)
as the designer of the woodcut, but this attribution is not likely to find acceptance. The portrait,
whoever drew it, is one of singular charm, and the attribution to Durer has done his reputation
no injury.
xxi. y
Albrecht Altdorfer. The Holy Family at the Fountain. b. ^9.
Repoduction from the impression in the British Museum (Mitchell Collection). (9 x yin.)
Albrecht Altdorfer, painter, engraver and architect, one of the most original artists of
Durer’s time, and chief of the Bavarian School, was born probably about 1480. Nothing is known
of his early life. He settled at Regensburg (Ratisbon),. and remained there as an influential
citizen and architect to the municipality till he died in 1548. His keen interest in architecture
shows itself in many of his engravings, but nowhere more strongly than in the delightful
woodcut here reproduced. He was also a born painter, and a pioneer in the development of
landscape, both in painting and etching. He was fond of romantic scenes, mountains and pine
forests, sunsets and stormy skies. We see the painter, not the mere draughtsman, in the
picturesque lighting and composition of his designs in black and white. He engraved and
etched more than a hundred plates, many of which are devoted to ornament (Altdorfer was a
collector of silver cups), others to religious and mythological subjects. In the latter he shows
the influence of Italian art, not the great art of the Quattro-Cento which Durer studied, but the
art of Marcantonio. In this part of his work Altdorfer ranks with the Little Masters, and not
with the best of them. He is more truly German and original in his woodcuts, about seventy
in number, of which forty form a connected series: “ The Fall and Redemption of Man.” Unlike
most of the artists of his day, he did not illustrate books. Recent criticism has attributed to him,
with great plausibility, a share in the Triumphal Procession and Triumphal Arch of Maximilian, in
the latter of which the older critics saw one hand only, that of Durer. He is not known to
have had personal relations with the Nuremberg Master, but it is clear that he learned much from
him, though he does not approach him in his drawing of the human figure and countenance.
XXII.
Hans Springinklee. St. Wilgefortis and the Fiddler. 193.
Reproduction from the impression in the Bodleian Library, Oxford. Douce Collection of Woodcuts.
Vol. II/., No. 13. (11T x 8^in.)
Springinklee was a pupil of Durer, in whose house he lived at Nuremberg. Nothing is
known of his biography. He is said by tradition to have died in 1^40. He is best known by his
G