DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.52444#0164
CATALOGUE OF DURER’S ENGRAVINGS,
Gray Collection in Boston, finally, has an impression in strong black ink, clean
wiped.
Concerning the opinions of Thausing and Middleton, as to the technic of
this plate, see the Introduction, p. xxxiii and Middleton’s list, No. 84.
Again, the “man in the moon” is left out in the crescent. (Compare Nos.
8, 44, and 74.)
87 THE VIRGIN CROWNED BY TWO ANGELS— B 39;
H 547; R 226; M 87.—Monogram and date, 1518, on a
SQUARE STONE.
a. Very fine impression. Printed in pure black ink, practically clean
wiped, with slight tinting in the closest work. From the Mariette and
Ruhl Collections.
b. Also a very fine, but more delicate impression. Soft warmish black
ink, with very delicate tinting in the close work. From the Koller Col-
lection.
In Paris there is a brilliant dark impression. That in London is a very fine sil-
very one, in black ink, absolutely clean wiped. Dresden has a delicate impres-
sion, but not “ silvery,” as the ink is rather warmish, and there is very slight
tinting in the close work. The impression in Berlin is a very beautiful one, on
the whole similar to the one in Dresden.
Speaking in general of Diirer’s works done between the years 1513 and 1520,
Thausing says (II, p. 134): “The engravings of the Virgin belonging to this
period are as unattractive as the paintings. The most agreeable among them,
the ‘Virgin Crowned by two Angels,’ of 1518, is taken from older studies,— at
least the beautiful drawing for the drapery on her knees, in the Albertina, be-
longs to the year 1508.” Two composition sketches for this plate are published by
Ephrussi (pp. 194, 195) and by Lippmann (Nos. 94 and 265). For Mr. Ruskin’s
estimate of it, see Lecture IV and the Appendix to his “ Ariadne Fiorentina.”
The period here alluded to (1513-20) is that in which Diirer was principally
occupied with the designs for the woodcut publications of the Emperor Maxi-
milian, and Thausing makes these designs directly responsible for the inferior
quality of the paintings and engravings belonging to the same period. Never-
theless, it is impossible to deny that this Virgin is, in a worldly aspect, the
prettiest and most elegant of all her sisters in Diirer’s work, even if it must be
admitted that the pose seems to betray the constraint of the model.
74
Gray Collection in Boston, finally, has an impression in strong black ink, clean
wiped.
Concerning the opinions of Thausing and Middleton, as to the technic of
this plate, see the Introduction, p. xxxiii and Middleton’s list, No. 84.
Again, the “man in the moon” is left out in the crescent. (Compare Nos.
8, 44, and 74.)
87 THE VIRGIN CROWNED BY TWO ANGELS— B 39;
H 547; R 226; M 87.—Monogram and date, 1518, on a
SQUARE STONE.
a. Very fine impression. Printed in pure black ink, practically clean
wiped, with slight tinting in the closest work. From the Mariette and
Ruhl Collections.
b. Also a very fine, but more delicate impression. Soft warmish black
ink, with very delicate tinting in the close work. From the Koller Col-
lection.
In Paris there is a brilliant dark impression. That in London is a very fine sil-
very one, in black ink, absolutely clean wiped. Dresden has a delicate impres-
sion, but not “ silvery,” as the ink is rather warmish, and there is very slight
tinting in the close work. The impression in Berlin is a very beautiful one, on
the whole similar to the one in Dresden.
Speaking in general of Diirer’s works done between the years 1513 and 1520,
Thausing says (II, p. 134): “The engravings of the Virgin belonging to this
period are as unattractive as the paintings. The most agreeable among them,
the ‘Virgin Crowned by two Angels,’ of 1518, is taken from older studies,— at
least the beautiful drawing for the drapery on her knees, in the Albertina, be-
longs to the year 1508.” Two composition sketches for this plate are published by
Ephrussi (pp. 194, 195) and by Lippmann (Nos. 94 and 265). For Mr. Ruskin’s
estimate of it, see Lecture IV and the Appendix to his “ Ariadne Fiorentina.”
The period here alluded to (1513-20) is that in which Diirer was principally
occupied with the designs for the woodcut publications of the Emperor Maxi-
milian, and Thausing makes these designs directly responsible for the inferior
quality of the paintings and engravings belonging to the same period. Never-
theless, it is impossible to deny that this Virgin is, in a worldly aspect, the
prettiest and most elegant of all her sisters in Diirer’s work, even if it must be
admitted that the pose seems to betray the constraint of the model.
74