DOI chapter:
Painters, Sculptors, Architects, Engravers, and their Works
DOI Page / Citation link:https://doi.org/10.11588/diglit.61295#0280
258
DURER.
although Venice and Antwerp made him attractive proposals to re-
main in those cities, and his own people, within thirty years, paid
him but 500 guilders.
The only favor he
asked was that the city
should pay him five per
cent, upon a capital of
1000 guilders, which
he had obtained by un-
ceasing toil. In rep-
resenting ecclesiastical
subjects, Durer disre-
garded all fixed forms,
and portrayed them
with great power, but
with perfectly human
feeling. In 1498, he
illustrated the book of
Revelation by wood-
cuts. In these the fan-
tastic element forms
the groundwork, but
they are conceived in a
singularly poetic spirit.
In them, the marvel-
lous and the monstrous
are strangely united.
In the Uffizi, at Flor-
ence, is a splendid
8. CHRISTOPHER. BY ALBERT DURER. ' Adoration ©f the
Kings,” painted in
1504; in the Monastery Strahoff, at Prague, the “ Feast of Roses ; ”
in the Belvedere Gall., at Vienna, the Martyrdom of 10,000 Saints,”
full of terrible truth; 1508: in the same Gall., the “ Trinity; ” 1511;
color clear, light, and fresh. From 1511 to 1515, he published many
wood-cuts of religious subjects. The Madonnas are especially
pleasing. In 1518, he represented the death of the Virgin, giving
her the features of the deceased wife of the Emperor Maximilian,
and making the other characters portraits of living personages. This
pict®e is in England. Although his pictures are scarce, the large
German galleries have specimens of his work. In 1526, he painted
on two panels, SS. John and Peter, and SS. Paul and Mark, and
presented them to the council of Nuremberg. They have been called
“ The Four Temperaments,” and are now in the Pinacothek, at
Munich. This Gall, has also five large pictures of the life of Christ.
The portrait of his father, dated 1497, is in the Munich Gall. Cabi-
DURER.
although Venice and Antwerp made him attractive proposals to re-
main in those cities, and his own people, within thirty years, paid
him but 500 guilders.
The only favor he
asked was that the city
should pay him five per
cent, upon a capital of
1000 guilders, which
he had obtained by un-
ceasing toil. In rep-
resenting ecclesiastical
subjects, Durer disre-
garded all fixed forms,
and portrayed them
with great power, but
with perfectly human
feeling. In 1498, he
illustrated the book of
Revelation by wood-
cuts. In these the fan-
tastic element forms
the groundwork, but
they are conceived in a
singularly poetic spirit.
In them, the marvel-
lous and the monstrous
are strangely united.
In the Uffizi, at Flor-
ence, is a splendid
8. CHRISTOPHER. BY ALBERT DURER. ' Adoration ©f the
Kings,” painted in
1504; in the Monastery Strahoff, at Prague, the “ Feast of Roses ; ”
in the Belvedere Gall., at Vienna, the Martyrdom of 10,000 Saints,”
full of terrible truth; 1508: in the same Gall., the “ Trinity; ” 1511;
color clear, light, and fresh. From 1511 to 1515, he published many
wood-cuts of religious subjects. The Madonnas are especially
pleasing. In 1518, he represented the death of the Virgin, giving
her the features of the deceased wife of the Emperor Maximilian,
and making the other characters portraits of living personages. This
pict®e is in England. Although his pictures are scarce, the large
German galleries have specimens of his work. In 1526, he painted
on two panels, SS. John and Peter, and SS. Paul and Mark, and
presented them to the council of Nuremberg. They have been called
“ The Four Temperaments,” and are now in the Pinacothek, at
Munich. This Gall, has also five large pictures of the life of Christ.
The portrait of his father, dated 1497, is in the Munich Gall. Cabi-