DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.52444#0102
CATALOGUE OF DURER’S ENGRAVINGS,
earlier artists of the Renaissance did not clearly distinguish between centaurs
and satyrs, see Thausing (I, pp. 222, 223), Sallet (pp. 17-20), and Ephrussi
(pp. 29, 30). There is a drawing by Diirer, unhesitatingly accepted as genuine
by all writers on the subject, which represents Orpheus attacked by the
Bacchantes, and is dated 1494 (see the facsimile, Supplementary Illustrations,
No. VI). This drawing is evidently based upon an old Florentine engraving
of the so-called Baldini-Botticelli group, representing the same subject, with
some differences (see the facsimile published by the International Chalcograph-
ical Society, Supplementary Illustrations, No. V). That the Florentine en-
graver is the originator and Diirer the copyist seems to be the opinion generally
held, although the reverse is stated in Meyer’s “ Lexikon ” (II, p. 588). In its
turn, the engraving called “ Hercules ” is again based on Diirer’s drawing of
1494, as becomes evident from the figure of the woman about to strike, from
the figure of the child, and from the group of trees.
18 THE MAN OF SORROWS STANDING WITH ARMS
EXTENDED.—B 20; H 450; R 90; M 26.—Monogram.
Very fine impression. Black ink, clean wiped, on very warm-toned
paper. Watermark, large bull’s head.
Heller, 1486-1500; Thausing (I, pp. 227, 228): “The exaggerated anatomy,
the bad drawing of the head and eyes, and the feebleness in the use of the
burin, are so striking that we are tempted to put the work before the year
1497, and to look upon the monogram in the corner as a later insertion.” Per
contra: Retberg, about 1507; Hausmann, about 1512; Middleton, “latter
part of 1497.” According to Grimm (Jahrbuch, II, p. 190), it suggests the
influence of Signorelli. (See remarks under No. 26.)
19 ST. SEBASTIAN TIED TO A TREE—B 55; H 787;
R 16; M 27.— Monogram on a piece of paper.
a. Very fine impression. Black ink, clean wiped.
b. Not as rich as a in general effect, which is partly due to the whitish
tint of the paper. Lines duplicated below. From the Ruhl and Peoli
Collections.
Retberg, before 1497; Heller, 1486-1500; Hausmann, first period, and simi-
larly Von Eye; Middleton “ in the latter part of 1497.” Grimm (Jahrbuch, II,
20
earlier artists of the Renaissance did not clearly distinguish between centaurs
and satyrs, see Thausing (I, pp. 222, 223), Sallet (pp. 17-20), and Ephrussi
(pp. 29, 30). There is a drawing by Diirer, unhesitatingly accepted as genuine
by all writers on the subject, which represents Orpheus attacked by the
Bacchantes, and is dated 1494 (see the facsimile, Supplementary Illustrations,
No. VI). This drawing is evidently based upon an old Florentine engraving
of the so-called Baldini-Botticelli group, representing the same subject, with
some differences (see the facsimile published by the International Chalcograph-
ical Society, Supplementary Illustrations, No. V). That the Florentine en-
graver is the originator and Diirer the copyist seems to be the opinion generally
held, although the reverse is stated in Meyer’s “ Lexikon ” (II, p. 588). In its
turn, the engraving called “ Hercules ” is again based on Diirer’s drawing of
1494, as becomes evident from the figure of the woman about to strike, from
the figure of the child, and from the group of trees.
18 THE MAN OF SORROWS STANDING WITH ARMS
EXTENDED.—B 20; H 450; R 90; M 26.—Monogram.
Very fine impression. Black ink, clean wiped, on very warm-toned
paper. Watermark, large bull’s head.
Heller, 1486-1500; Thausing (I, pp. 227, 228): “The exaggerated anatomy,
the bad drawing of the head and eyes, and the feebleness in the use of the
burin, are so striking that we are tempted to put the work before the year
1497, and to look upon the monogram in the corner as a later insertion.” Per
contra: Retberg, about 1507; Hausmann, about 1512; Middleton, “latter
part of 1497.” According to Grimm (Jahrbuch, II, p. 190), it suggests the
influence of Signorelli. (See remarks under No. 26.)
19 ST. SEBASTIAN TIED TO A TREE—B 55; H 787;
R 16; M 27.— Monogram on a piece of paper.
a. Very fine impression. Black ink, clean wiped.
b. Not as rich as a in general effect, which is partly due to the whitish
tint of the paper. Lines duplicated below. From the Ruhl and Peoli
Collections.
Retberg, before 1497; Heller, 1486-1500; Hausmann, first period, and simi-
larly Von Eye; Middleton “ in the latter part of 1497.” Grimm (Jahrbuch, II,
20