DOI chapter:
Painters, Sculptors, Architects, Engravers, and their Works
DOI Page / Citation link:https://doi.org/10.11588/diglit.61295#0279
DUPATY — PURER.
257
At length he devoted himself to sculpture under the teaching of
Lemont. As early as 1799 he obtained the grand prize, but did not
go to Rome until 1801. His first works were executed in the man-
ner of his time and country, but when he went to Italy he adopted
the antique, and made models for some mythological and historical
statues, which were put in marble later. His chef-cV oeuvre was
“ Ajax pursued by Neptune,” which gained him, deservedly, a great
reputation. He executed various commissions for the government,
among which was the principal group of the monument to the Duke
de Berri. He also made the statue of the Virgin for the ch. of S.
Germain des Pres.
Duquesnoy, Francois, called “ Il Fiammingo,” on account of
his nationality, born at Brussels (1594-1646). The Archduke
Albert sent him to Rome, but at the death of his benefactor he was
forced to carve ivory figures to support himself. He made the ac-
quaintance of Poussin, and they pursued their studies together.
Duquesnoy soon gained a reputation for his beautiful statues of
children,1 and was commissioned to model the groups which adorn
the columns of the grand altar of S. Peter’s. He also made a
colossal statue of S. Andrew for the same basilica, which is one of
the best works of modern art, and occupied him five years. His S.
Susanna for the ch. of S. Maria di Loretto has been much admired.
It is said he was poisoned by his brother when on his way to France.
— Diirer, Albert, born at Nu-
H remberg (1471-1528). This
-ZdI /©N artist, if not really the founder
of the German school, perfected the art which already existed in his
country. He was a sculptor, architect, and painter. He also wrote
various theoretical works. He was capable of the severest study, and
full of earnest and truthful feeling in art. His drawing was rich in
life and expression; his coloring very unequal; his nude figures ugly
and vulgar; and his love for the fantastic prevented him from be-
coming what he might otherwise have been. His father was a gold-
smith, and intended to have placed him with Martin Schoen, but the
death of that artist caused him to become the disciple of Michael
Wolgemuth, in whose atelier he remained three years. In 1490, he
set out on his travels, and in 1494 returned to Nuremberg and settled
himself as a painter. He remained there ten years, and did many
important works in engraving. In 1505, he went to Venice, Padua,
and Bologna. The following year he returned to Nuremberg, where
he remained till 1520, and executed an immense number of paintings,
drawings, engravings, and some carved works in box-wood and
steatite. He then made a journey into the Netherlands, was absent
about a year, and returned to his native city, never to leave it again,
1 His figures of children are full of genuine naivetd; he executed the foun-
tain of the Manneken-Pis at Brussels.
17
257
At length he devoted himself to sculpture under the teaching of
Lemont. As early as 1799 he obtained the grand prize, but did not
go to Rome until 1801. His first works were executed in the man-
ner of his time and country, but when he went to Italy he adopted
the antique, and made models for some mythological and historical
statues, which were put in marble later. His chef-cV oeuvre was
“ Ajax pursued by Neptune,” which gained him, deservedly, a great
reputation. He executed various commissions for the government,
among which was the principal group of the monument to the Duke
de Berri. He also made the statue of the Virgin for the ch. of S.
Germain des Pres.
Duquesnoy, Francois, called “ Il Fiammingo,” on account of
his nationality, born at Brussels (1594-1646). The Archduke
Albert sent him to Rome, but at the death of his benefactor he was
forced to carve ivory figures to support himself. He made the ac-
quaintance of Poussin, and they pursued their studies together.
Duquesnoy soon gained a reputation for his beautiful statues of
children,1 and was commissioned to model the groups which adorn
the columns of the grand altar of S. Peter’s. He also made a
colossal statue of S. Andrew for the same basilica, which is one of
the best works of modern art, and occupied him five years. His S.
Susanna for the ch. of S. Maria di Loretto has been much admired.
It is said he was poisoned by his brother when on his way to France.
— Diirer, Albert, born at Nu-
H remberg (1471-1528). This
-ZdI /©N artist, if not really the founder
of the German school, perfected the art which already existed in his
country. He was a sculptor, architect, and painter. He also wrote
various theoretical works. He was capable of the severest study, and
full of earnest and truthful feeling in art. His drawing was rich in
life and expression; his coloring very unequal; his nude figures ugly
and vulgar; and his love for the fantastic prevented him from be-
coming what he might otherwise have been. His father was a gold-
smith, and intended to have placed him with Martin Schoen, but the
death of that artist caused him to become the disciple of Michael
Wolgemuth, in whose atelier he remained three years. In 1490, he
set out on his travels, and in 1494 returned to Nuremberg and settled
himself as a painter. He remained there ten years, and did many
important works in engraving. In 1505, he went to Venice, Padua,
and Bologna. The following year he returned to Nuremberg, where
he remained till 1520, and executed an immense number of paintings,
drawings, engravings, and some carved works in box-wood and
steatite. He then made a journey into the Netherlands, was absent
about a year, and returned to his native city, never to leave it again,
1 His figures of children are full of genuine naivetd; he executed the foun-
tain of the Manneken-Pis at Brussels.
17