DOI Page / Citation link:
https://doi.org/10.11588/diglit.52444#0163
DRY-POINTS, AND ETCHINGS.
Paris has a fine impression, in warmish ink, with much tinting, and the one in
London is of the same kind. In the Berlin Cabinet, there is an only fair im-
pression, black ink, no tinting, wiped out here and there.
Of all of Diirer’s compositions, this bears off the palm as being the most
puzzling. Heller calls it “ The Bath,” on the authority of some old manuscript,
and presumes the woman to have been drowned, the naked man in despair to
be her husband, and the satyr, etc., sympathizing spectators. Hiisgen, accord-
ing to Heller, dubbed it “ The Dismayed Husband.” Thausing and others
maintain that it is merely an aggregation of studies taken at random,— hence
the title “ Study of Five Figures,” — and that it is, therefore, Diirer’s first essay
in etching. In the principal figure, the “ man in despair,” Thausing detects
Italian influences, and even recognizes in it the position of Michelangelo’s
“ Cupid,” in the South Kensington Museum. There is a drawing, by Diirer
(see the Biographical Illustrations, p. li) of a man, very similar to the figure
seen in profile to the left, which Thausing declares to be a portrait of Andrew,
Albert’s brother, a declaration stoutly opposed by Ephrussi.
Etched on iron. (See No. 81.) Although without monogram or date, this
plate is universally accepted as by Diirer. The opinions as to its date differ,
however. Heller places it between 1507 and 1514; Retberg about 1516.
Thausing, who, as above stated, sees in the subject merely an aggregation of
studies thrown together at random, argues that it is a mere trial plate, and
consequently Diirer’s first essay in etching. It is, however, altogether too
elaborate for a mere trial plate, and, moreover, technically the most perfect,
because the most delicate, of the artist’s etchings. Retberg’s suggestion is,
therefore, the most probable.
86 THE VIRGIN ON THE CRESCENT, WITH CROWN
OF STARS AND SCEPTER— B 32; H 526; R 221 ;
M 84.—Monogram; dated 1516.
Very fine impression. Soft, somewhat warmish black ink, with very
perceptible tinting throughout the close work. From the Fisher Col-
lection.
The impressions from this plate also vary considerably. In London there is a
beautiful delicate one, warmish ink, clean wiped. Dresden has a fair impres-
sion, black ink, clean wiped, producing a grayish effect. The Berlin impression
is also fine and delicate, warmish ink, clean wiped, with only slight tinting,
nevertheless rather dull in general effect, owing to the color of the paper. The
18 73
Paris has a fine impression, in warmish ink, with much tinting, and the one in
London is of the same kind. In the Berlin Cabinet, there is an only fair im-
pression, black ink, no tinting, wiped out here and there.
Of all of Diirer’s compositions, this bears off the palm as being the most
puzzling. Heller calls it “ The Bath,” on the authority of some old manuscript,
and presumes the woman to have been drowned, the naked man in despair to
be her husband, and the satyr, etc., sympathizing spectators. Hiisgen, accord-
ing to Heller, dubbed it “ The Dismayed Husband.” Thausing and others
maintain that it is merely an aggregation of studies taken at random,— hence
the title “ Study of Five Figures,” — and that it is, therefore, Diirer’s first essay
in etching. In the principal figure, the “ man in despair,” Thausing detects
Italian influences, and even recognizes in it the position of Michelangelo’s
“ Cupid,” in the South Kensington Museum. There is a drawing, by Diirer
(see the Biographical Illustrations, p. li) of a man, very similar to the figure
seen in profile to the left, which Thausing declares to be a portrait of Andrew,
Albert’s brother, a declaration stoutly opposed by Ephrussi.
Etched on iron. (See No. 81.) Although without monogram or date, this
plate is universally accepted as by Diirer. The opinions as to its date differ,
however. Heller places it between 1507 and 1514; Retberg about 1516.
Thausing, who, as above stated, sees in the subject merely an aggregation of
studies thrown together at random, argues that it is a mere trial plate, and
consequently Diirer’s first essay in etching. It is, however, altogether too
elaborate for a mere trial plate, and, moreover, technically the most perfect,
because the most delicate, of the artist’s etchings. Retberg’s suggestion is,
therefore, the most probable.
86 THE VIRGIN ON THE CRESCENT, WITH CROWN
OF STARS AND SCEPTER— B 32; H 526; R 221 ;
M 84.—Monogram; dated 1516.
Very fine impression. Soft, somewhat warmish black ink, with very
perceptible tinting throughout the close work. From the Fisher Col-
lection.
The impressions from this plate also vary considerably. In London there is a
beautiful delicate one, warmish ink, clean wiped. Dresden has a fair impres-
sion, black ink, clean wiped, producing a grayish effect. The Berlin impression
is also fine and delicate, warmish ink, clean wiped, with only slight tinting,
nevertheless rather dull in general effect, owing to the color of the paper. The
18 73