DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.52444#0040
INTRODUCTION.
calls Jacopo a “good sweet painter,” recalling the impressions he had
received from him in his youth, there was a time when he esteemed him
differently. Writing to Pirkheimer from Venice in 1506, he says: “I
let you know also, that here there are much better painters than Master
Jacob is out there. But Anthony Kolb [for whom Jacopo had designed
the large view of Venice published in 1500, a really very clever work]
swears an oath, there lived no better painter on earth than Jacob. The
others scoff at him, say : ‘ If he were good he would stay here.’ ” (L. u.
F., p. 22.) Nevertheless, he thought better of him again in 1521. In
the diary of his journey to the Netherlands (L. u. F., p. 170), Diirer
notes that in the possession of the Lady Margaret, the governess of the
Netherlands, in whose service Jacopo de’ Barbari had died, he saw a
number of good things, some of them by Jacob Walch. “ I begged my
lady to give me Master Jacob’s little book [probably a sketch-book], but
she said she had promised it to her painter.”
These details are given here because the influence of Jacopo de’
Barbari is repeatedly alluded to in the notes of the catalogue, and
reproductions of a number of his engravings will be found among the
Supplementary Illustrations.
Jacopo de’ Barbari, however, was not the only Italian artist who in-
fluenced the young Diirer, although with no other does he seem to have
come into such close contact. That he appreciated and studied Man-
tegna is apparent from the pen copies in the Albertina, Vienna, which
he made from some of his engravings. (See also under No. 34 of the
catalogue.) It is very curious to note how in these copies he trans-
lated the straight-line shading system of the Italian into the curved line
more familiar to himself. An interesting series of copies by Diirer, in
the British Museum, London, from some of the so-called “Tarocchi,”
has been reproduced by Lippmann (Nos. 211-18).
Concerning the influence of the antique, and its meaning not only for
Diirer, but for the Northern nations in general, see especially the remarks
under No. 34, “ Adam and Eve.”
xxii
calls Jacopo a “good sweet painter,” recalling the impressions he had
received from him in his youth, there was a time when he esteemed him
differently. Writing to Pirkheimer from Venice in 1506, he says: “I
let you know also, that here there are much better painters than Master
Jacob is out there. But Anthony Kolb [for whom Jacopo had designed
the large view of Venice published in 1500, a really very clever work]
swears an oath, there lived no better painter on earth than Jacob. The
others scoff at him, say : ‘ If he were good he would stay here.’ ” (L. u.
F., p. 22.) Nevertheless, he thought better of him again in 1521. In
the diary of his journey to the Netherlands (L. u. F., p. 170), Diirer
notes that in the possession of the Lady Margaret, the governess of the
Netherlands, in whose service Jacopo de’ Barbari had died, he saw a
number of good things, some of them by Jacob Walch. “ I begged my
lady to give me Master Jacob’s little book [probably a sketch-book], but
she said she had promised it to her painter.”
These details are given here because the influence of Jacopo de’
Barbari is repeatedly alluded to in the notes of the catalogue, and
reproductions of a number of his engravings will be found among the
Supplementary Illustrations.
Jacopo de’ Barbari, however, was not the only Italian artist who in-
fluenced the young Diirer, although with no other does he seem to have
come into such close contact. That he appreciated and studied Man-
tegna is apparent from the pen copies in the Albertina, Vienna, which
he made from some of his engravings. (See also under No. 34 of the
catalogue.) It is very curious to note how in these copies he trans-
lated the straight-line shading system of the Italian into the curved line
more familiar to himself. An interesting series of copies by Diirer, in
the British Museum, London, from some of the so-called “Tarocchi,”
has been reproduced by Lippmann (Nos. 211-18).
Concerning the influence of the antique, and its meaning not only for
Diirer, but for the Northern nations in general, see especially the remarks
under No. 34, “ Adam and Eve.”
xxii