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Dürer was hier: Een reis wordt legende
Precies vijfhonderd jaar geleden kwam er een einde aan de legendarische reis (1520-1521) die de veelzijdige Duitse renaissancekunstenaar Albrecht Dürer (1471-1528) door de Nederlanden maakte. Een voor de redenen van die reis was dat Dürer de pas verkozen Karel V ervan wilde overtuigen de privileges te bestendigen die hij door het overlijden van diens voorganger Maximiliaan I was kwijtgeraakt. Omdat de kunstenaar nauwgezet een dagboek bijhield, is deze interessante tocht uitvoerig gedocumenteerd. Het originele verslag bleef niet bewaard, maar is overgeleverd door twee afschriften. In het dagboek noteerde Dürer niet alleen nauwkeurig alle inkomsten en uitgaven maar ook de talrijke geschenken die hij ontving. Tijdens zijn verblijf in de Nederlanden was Antwerpen zijn uitvalsbasis. Vanuit de Scheldestad bezocht de Neurenberger verschillende andere steden, waaronder Gent, Brugge, Brussel, Mechelen, Aken (waar hij de kroning van Karel V bijwoonde) en Keulen. Hij had er tal van interessante ontmoetingen: met collega-kunstenaars, zoals Bernard van Orley, Conrad Meit, Jan Provoost, Joachim Patinir en Lucas van Leyden, met vorsten, onder wie Margareta van Oostenrijk, met kooplieden uit Noord- en Zuid-Europa en ook met geleerden, zoals Erasmus.
Met een boeiende bijdrage van Till-Holger Borchert en korte, heldere teksten van Peter van den Brink bij het catalogusgedeelte schetst deze rijkelijk geïllustreerde publiekscatalogus een volledig beeld van Dürers reis. Deze publicatie bevat meer dan honderdveertig schilderijen, prenten, tekeningen en beelden, zowel van Dürer als van de kunstenaars die hij op zijn tocht ontmoette, die hem inspireerden en die door hem werden beïnvloed. Een must-have voor iedereen die weg is van Dürer.
Met een boeiende bijdrage van Till-Holger Borchert en korte, heldere teksten van Peter van den Brink bij het catalogusgedeelte schetst deze rijkelijk geïllustreerde publiekscatalogus een volledig beeld van Dürers reis. Deze publicatie bevat meer dan honderdveertig schilderijen, prenten, tekeningen en beelden, zowel van Dürer als van de kunstenaars die hij op zijn tocht ontmoette, die hem inspireerden en die door hem werden beïnvloed. Een must-have voor iedereen die weg is van Dürer.
- GenresArt
223 pages, Hardcover
Published January 1, 2021
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October 4, 2021I think for the first time I read the accompanying book before visiting the exhibition - and if you are reading this before the end of October 2021 you are running out of time to see it in Aachen. Shockingly I found that the book and exhibition enhance each other in an impressive multimedia performance, rather as though someone was following you around playing the lute except not so annoying as that would rapidly become.
One delight was the component of the exhibition dealing with the influence of Albrecht Dürer how his works were used as models and amended or not by subsequent artists.
Another was the amount of his sketches and preparatory drawings that have survived in some cases even though a finished work is known to have existed but apparently no longer survives.
Thirdly I was struck by the role that Dürer and his trip to Antwerp and the Netherlands generally (his travel diary and the writings reviewed here) played in constructing a Belgian cultural heritage after that country's creation. This gave rise to some history paintings taking his trip as their subject the one illustrated on the book's a href="https://i1.wp.com/kunstvensters.com/w... I found a bit comical, but I suppose Pierre Francois de Noter and Felix De Vigne's painting of Dürer viewing van Eyck's Lam Gods makes the ideological point. Others were impressively romantic - I guess a tendency which Dürer could only blame himself for given his self-presentation and marketing.
We learn from Dürer's woodcut and then Conrad Meit's later version carved in boxwood that Adam was the first hairdresser and stylist, Eve, however, while she could cut hair was more active in horticulture. in this case you can see how Meit keeps the pose and relation between the figures but softens the musculature, he is adapting Dürer not just copying him.
Dürer used different styles, hyper detailed for woodcuts but relatively plain for oil paintings with simple coloured backgrounds which accentuate a portrait. An interesting case was a painting of a Portuguese merchant, the man died a few years after receiving his finished portrait which then travelled back to Portugal where it was assumed it was a painting of his successor working in the same role in Antwerp. In a related case Dürer's painting of Erasmus was based on a sketch done six or so years before he could complete the portrait, by the time he received it he no longer looked as he had done due to his health problems; so we are left with portrayals which look and presumably were realistic and accurate, but at the same time are generic and purely artistic.
My own favourites were Dürer's walrus and his drawing of a dog that looks as though it had to bow its head to fit on to the paper.
One of the exhibition curators pointed out Dürer's Portrait of the African Catherine - a young woman who was part of the Portuguese community in Antwerp. This apparently was the first portrait of an African Woman in the European Art tradition.
One delight was the component of the exhibition dealing with the influence of Albrecht Dürer how his works were used as models and amended or not by subsequent artists.
Another was the amount of his sketches and preparatory drawings that have survived in some cases even though a finished work is known to have existed but apparently no longer survives.
Thirdly I was struck by the role that Dürer and his trip to Antwerp and the Netherlands generally (his travel diary and the writings reviewed here) played in constructing a Belgian cultural heritage after that country's creation. This gave rise to some history paintings taking his trip as their subject the one illustrated on the book's a href="https://i1.wp.com/kunstvensters.com/w... I found a bit comical, but I suppose Pierre Francois de Noter and Felix De Vigne's painting of Dürer viewing van Eyck's Lam Gods makes the ideological point. Others were impressively romantic - I guess a tendency which Dürer could only blame himself for given his self-presentation and marketing.
We learn from Dürer's woodcut and then Conrad Meit's later version carved in boxwood that Adam was the first hairdresser and stylist, Eve, however, while she could cut hair was more active in horticulture. in this case you can see how Meit keeps the pose and relation between the figures but softens the musculature, he is adapting Dürer not just copying him.
Dürer used different styles, hyper detailed for woodcuts but relatively plain for oil paintings with simple coloured backgrounds which accentuate a portrait. An interesting case was a painting of a Portuguese merchant, the man died a few years after receiving his finished portrait which then travelled back to Portugal where it was assumed it was a painting of his successor working in the same role in Antwerp. In a related case Dürer's painting of Erasmus was based on a sketch done six or so years before he could complete the portrait, by the time he received it he no longer looked as he had done due to his health problems; so we are left with portrayals which look and presumably were realistic and accurate, but at the same time are generic and purely artistic.
My own favourites were Dürer's walrus and his drawing of a dog that looks as though it had to bow its head to fit on to the paper.
One of the exhibition curators pointed out Dürer's Portrait of the African Catherine - a young woman who was part of the Portuguese community in Antwerp. This apparently was the first portrait of an African Woman in the European Art tradition.
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