DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.52444#0187
ENGRAVINGS ATTRIBUTED TO DURER.
112 STUDIES FOR ADAM AND EVE.
Reproduction in photogravure.
This is the latest candidate for the honor of being admitted to a place among
the engraved works of Diirer. The facsimile here shown, from the only known
impression (in the Bibliotheque Nationale, at Paris), was published by the Inter-
national Chalcographical Society in its series for 1886, No. 10. In the accom-
panying text it is ascribed to an “ unknown German engraver, fifteenth cen-
tury,” the style of whose work is said to have a certain affinity with that of Martin
Schongauer. Lehrs (“ Repertorium,” X, p. 102) ascribes it to an engraver known
only by his initials, P M, who was influenced by Schongauer, and belonged to the
school of the Lower Rhine. Anton Springer (“ Zeitschrift fur bildende Kunst,”
October 1889, pp. 20-22) advances the idea that we have here the earliest
attempt at engraving by Diirer,— a premonition of the “ Adam and Eve ” of
1504 (No. 34 of this catalogue),— and he supports his argument by pointing
out a resemblance of the Adam in these studies to the early portraits of
Diirer. Lehrs, in his turn, controverts this opinion (“ Repertorium,” XIII, pp. 40
and 41), but Springer adheres to it in his book on Diirer (p. 14). There is a
certain resemblance, as the comparison of the illustrations given by Springer
will show, but the handling is altogether different from the admitted earliest
plates of Diirer, and too skilful to have preceded “The Ravisher” (No. 1 of
this catalogue).
93
112 STUDIES FOR ADAM AND EVE.
Reproduction in photogravure.
This is the latest candidate for the honor of being admitted to a place among
the engraved works of Diirer. The facsimile here shown, from the only known
impression (in the Bibliotheque Nationale, at Paris), was published by the Inter-
national Chalcographical Society in its series for 1886, No. 10. In the accom-
panying text it is ascribed to an “ unknown German engraver, fifteenth cen-
tury,” the style of whose work is said to have a certain affinity with that of Martin
Schongauer. Lehrs (“ Repertorium,” X, p. 102) ascribes it to an engraver known
only by his initials, P M, who was influenced by Schongauer, and belonged to the
school of the Lower Rhine. Anton Springer (“ Zeitschrift fur bildende Kunst,”
October 1889, pp. 20-22) advances the idea that we have here the earliest
attempt at engraving by Diirer,— a premonition of the “ Adam and Eve ” of
1504 (No. 34 of this catalogue),— and he supports his argument by pointing
out a resemblance of the Adam in these studies to the early portraits of
Diirer. Lehrs, in his turn, controverts this opinion (“ Repertorium,” XIII, pp. 40
and 41), but Springer adheres to it in his book on Diirer (p. 14). There is a
certain resemblance, as the comparison of the illustrations given by Springer
will show, but the handling is altogether different from the admitted earliest
plates of Diirer, and too skilful to have preceded “The Ravisher” (No. 1 of
this catalogue).
93