DOI Page / Citation link:
https://doi.org/10.11588/diglit.52444#0087
DRY-POINTS, AND ETCHINGS.
mally skilful and delicate, and there is a superior quality of expression in the
frivolous pose and face of the woman and in the face of the old man, of which
Diirer was hardly capable. If the plate really should be his, it would, more-
over, be the only one among his undoubted works which panders to a vicious
taste under the guise of moralizing. Although Diirer was a true child of his
period (see his correspondence with Pirkheimer and some of his rhymes), his art
is nevertheless singularly free from the obscenity and the grossness which make
the work of so many of his contemporaries distasteful. This was recognized
even at the time, as shown by the words of Camerarius quoted by Thausing
(II, p. 98).
5 THE PRODIGAL SON — B 28; H 477; R 5; M 6.—Mono-
gram, THE A BEGINNING TO SPREAD SLIGHTLY AT THE TOP, A
ROMAN D WITHIN IT.
a. Very fine impression, some of the perpendicular scratches still
slightly visible. Pure black ink, clean wiped.
b. Good impression, after the slight perpendicular scratches had worn
away almost entirely. Brownish ink, clean wiped. From the Donnadieu
Collection.
c. Modern copy.
The earliest impressions, such as the very fine one in the Gray Collection, Bos-
ton, and the equally fine ones in the British Museum, London, and the Berlin
Cabinet, very perceptibly show quite a number of long perpendicular scratches
in the upper part of the plate, and on its left and right sides. They are printed
in pure black ink, and are absolutely clean wiped.
The workmanship is about equal to No. 4 in the handling or management
of the lines, but shows increased skill in the mastery of the burin.
Assigned by Retberg to before 1495, by Heller to between i486 and 1500,
and characterized also by Thausing as very early work, faulty in the drawing
of the figure.
The “ Prodigal ” himself has been called a likeness of Diirer, which only
shows how recklessly such guesses are put forward. The background has
always been much admired, and Vasari says of it: “ In this engraving there are
huts or cabins after the German manner, which are exceedingly beautiful.”
There is a study for this engraving in the British Museum. (Lippmann, No.
222. Reproduced also by Cust, p. 26.)
5
mally skilful and delicate, and there is a superior quality of expression in the
frivolous pose and face of the woman and in the face of the old man, of which
Diirer was hardly capable. If the plate really should be his, it would, more-
over, be the only one among his undoubted works which panders to a vicious
taste under the guise of moralizing. Although Diirer was a true child of his
period (see his correspondence with Pirkheimer and some of his rhymes), his art
is nevertheless singularly free from the obscenity and the grossness which make
the work of so many of his contemporaries distasteful. This was recognized
even at the time, as shown by the words of Camerarius quoted by Thausing
(II, p. 98).
5 THE PRODIGAL SON — B 28; H 477; R 5; M 6.—Mono-
gram, THE A BEGINNING TO SPREAD SLIGHTLY AT THE TOP, A
ROMAN D WITHIN IT.
a. Very fine impression, some of the perpendicular scratches still
slightly visible. Pure black ink, clean wiped.
b. Good impression, after the slight perpendicular scratches had worn
away almost entirely. Brownish ink, clean wiped. From the Donnadieu
Collection.
c. Modern copy.
The earliest impressions, such as the very fine one in the Gray Collection, Bos-
ton, and the equally fine ones in the British Museum, London, and the Berlin
Cabinet, very perceptibly show quite a number of long perpendicular scratches
in the upper part of the plate, and on its left and right sides. They are printed
in pure black ink, and are absolutely clean wiped.
The workmanship is about equal to No. 4 in the handling or management
of the lines, but shows increased skill in the mastery of the burin.
Assigned by Retberg to before 1495, by Heller to between i486 and 1500,
and characterized also by Thausing as very early work, faulty in the drawing
of the figure.
The “ Prodigal ” himself has been called a likeness of Diirer, which only
shows how recklessly such guesses are put forward. The background has
always been much admired, and Vasari says of it: “ In this engraving there are
huts or cabins after the German manner, which are exceedingly beautiful.”
There is a study for this engraving in the British Museum. (Lippmann, No.
222. Reproduced also by Cust, p. 26.)
5