[37] This was the seventh of the eight editions in all of the print. But when Dürer’s rhinoceros arrived in Lisbon, things weren’t quite so straightforward. It is said that the rhinoceros is fast, impetuous and cunning. Original upload log (suppr) (actu) 17 juin 2005 à 22:56 . 136 (Grav. A duel between a rhinocerus and an elephant? Español : El Rinoceronte de Durero es el nombre que recibe un grabado xilográfico creado por el pintor y grabador alemán Alberto Durero en 1515. It is an emblem of the world of his time. Dimensions: Height: 212 millimeters (woodcut) and Width: 296 millimeters (woodcut) The work I have chosen from the Northern Renaissance is Rhinocerus (Rhinoceros) by Albrecht Dürer. Albrecht Durer. 136; M., Holl. The Rhinoceros, which must have seemed like a mythical beast to those that viewed it first in Lisbon, would have been a potent symbol of that exotic, untamed, outside world to which Europe was bringing order and enlightenment. It has been said of Dürer's woodcut: "probably no animal picture has exerted such a profound influence on the arts".[7]. [3][4], Dürer's woodcut is not an entirely accurate representation of a rhinoceros. 1) 299 (Kurth's Complete Woodcuts of Albrecht Dürer) A live rhinoceros was not seen again in Europe until a second specimen, named Abada, arrived from India at the court of Sebastian of Portugal in 1577, being later inherited by Philip II of Spain around 1580. Source. Albrecht Dürer Rhinoceros. 3 vols I … It is a world in which the nations of Europe were competing not just in Europe itself but across the globe in Asia as well as the Americas. [23] Dürer – who was acquainted with the Portuguese community of the factory at Antwerp[24] – saw the second letter and sketch in Nuremberg. [43] The rhinoceros was depicted in numerous other paintings and sculptures and became a popular decoration for porcelain. See Clarke, p.19, for a photograph of a gargoyle. It is the colour of a speckled tortoise,[28] and is almost entirely covered with thick scales. The popularity of the inaccurate Dürer image remained undiminished despite an Indian rhinoceros spending eight years in Madrid from 1580 to 1588 (although a few examples of a print of the Madrid rhinoceros sketched by Philippe Galle in Antwerp in 1586, and derivative works, have survived), and the exhibition of a live rhinoceros in London a century later, from 1684–86, and of a second individual after 1739. © www.AlbrechtDurer.org 2019. The carcass of the rhinoceros was recovered near Villefranche, and its hide was returned to Lisbon, where it was stuffed. It was to be housed in the Kingâs menagerie at the Ribeira Palace in Lisbon. Durer was a master of the woodcut and had brought greater artistic vision and intellectual depth to the medium. ‘Rhinoceros’ was created in 1515 by Albrecht Durer in Northern Renaissance style. Dürer may have anticipated this and deliberately chosen to create a woodcut, rather than a more refined and detailed engraving, as this was cheaper to produce and more copies could be printed. A rhinoceros that was clearly based on Dürer's woodcut was chosen by Alessandro de' Medici as his emblem in June 1536, with the motto "Non vuelvo sin vencer" (old Spanish for "I shall not return without victory"). King Francis I of France was returning from Saint-Maximin-la-Sainte-Baume in Provence, and requested a viewing of the beast. Dürer never saw the actual rhinoceros, which was the first living example seen in Europe since Roman times. After resuming its journey, the ship was wrecked in a sudden storm as it passed through the narrows of Porto Venere, north of La Spezia on the coast of Liguria. [38][40], Despite its errors, the image remained very popular,[6] and was taken to be an accurate representation of a rhinoceros until the late 18th century. His decision to issue the image as a woodcut made it accessible to many more people eager to experience something of that excitement. It lives at the Metropolitan Museum of Art in New York. Albrecht Dürer never saw a rhinoceros in real life. It was housed in King Manuel's menagerie at the Ribeira Palace in Lisbon, separate from his elephants and other large beasts at the Estaus Palace. The Rhinoceros. Dürer’s depiction of the animal shaped the European image of an Indian rhinoceros right up to the mid 18th century, when another specimen arrived in Europe. Rhinoceros. He places a small twisted horn on its back and gives it scaly legs and saw-like rear quarters. [37][38] The resulting chiaroscuro woodcut, which entirely omitted the text, was published after 1620. Home Biography Rhinoceros Legacy of Durer Bibliography Biography Education. [17] The vessel passed near Marseille in early 1516. In early 1514, Afonso de Albuquerque, governor of Portuguese India, sent ambassadors to Sultan Muzaffar Shah II, ruler of Cambay (modern Gujarat), to seek permission to build a fort on the island of Diu. Dürer never saw the animal himself, but the woodcut he prepared became so famous that for two centuries it was the only rhinoceros Europeans ever saw. The rhinoceros was already well accustomed to being kept in captivity. Dürer's Rhinoceros is the name commonly given to a woodcut executed by German painter and printmaker Albrecht Dürer in 1515. Developments in printing technology meant that his âRhinocerosâ could be reproduced in much greater quantities than previously and priced to be within the reach of the less wealthy. This may be Dürer's attempt to reflect the rough and almost hairless hide of the Indian rhinoceros, which has wart-like bumps covering its upper legs and shoulders. Durer’s text at the top of the woodcut confirms the impression that the image gives of a powerful fighting beast feared even by elephants. [11] Many further printings followed after Dürer's death in 1528, including two in the 1540s, and two more in the late 16th century. Schulfilm zu "Rhinocerus", einem Werk des Nürnberger Künstlers Albrecht Dürer aus dem Jahre 1515. Even so, Bruce's own illustration of the African white rhinoceros, which is noticeably different in appearance to the Indian rhinoceros, still shares conspicuous inaccuracies with Dürer's work. [2] In late 1515, the King of Portugal, Manuel I, sent the animal as a gift for Pope Leo X, but it died in a shipwreck off the coast of Italy in early 1516. The previous year, the Pope had been very pleased with Manuel's gift of a white elephant, also from India, which the Pope had named Hanno. The mission returned without an agreement, but diplomatic gifts were exchanged, including the rhinoceros. Rhinocerus (Rhinoceros) by Albrecht Dürer. Le dessin est reporté sur le bois, puis gravé à la pointe et au burin, ensuite le tirage de la gravure fait que le sens est inversé sur la feuille par rapport au dessin initial. Albuquerque decided to forward the gift, known by its Gujarati name of genda, and its Indian keeper, named Ocem, to King Manuel I of Portugal. The rhinoceros’ horn is much larger and imposing than in nature and, indeed, Durer shows the animal as having a second, smaller, spiral horn on its back. Dürer n’a jamais observé ce rhinocéros qui était le premier individu vivant vu en Europe depuis l’époque romaine. [33] His image is truer to life, omitting Dürer's more fanciful additions and including the shackles and chain used to restrain the rhinoceros;[33] however, Dürer's woodcut is more powerful and eclipsed Burgkmair's in popularity. Google Arts & Culture features content from over 2000 leading museums and archives who have partnered with the Google Cultural Institute to bring the world's treasures online. It is thought to have sold as many as 5,000 copies in Durerâs lifetime and was to become the iconic image that Europeans turned to describe the rhinoceros until well into the eighteenth century. [11], The block passed into the hands of the Amsterdam printer and cartographer Willem Janssen (also called Willem Blaeu amongst other names). All Rights Reserved. [25][26] and printed a reversed reflection of it.[20][27]. 241; S.M.S. Burgkmair corresponded with merchants in Lisbon and Nuremberg, but it is not clear whether he had access to a letter or sketch as Dürer did, perhaps even Dürer's sources, or saw the animal himself in Portugal. It has the colour of a speckled tortoise and it is covered with thick scales. Cole, F.J. (Francis Joseph), "The History of Albrecht Durer's Rhinoceros in Zoological Literature," essay in Underwood, E. Ashworth (ed. [35] Later printings have six lines of descriptive text. [22] A second letter of unknown authorship was sent from Lisbon to Nuremberg at around the same time, enclosing a sketch by an unknown artist. The image is available via Institutional Open Content, and tagged Animals. Albrecht Durer. The commercial success of Durerâs image reflected the excitement that had been created by the animalâs arrival. The elephant is afraid of the rhinoceros, for, when they meet, the rhinoceros charges with its head between its front legs and rips open the elephant's stomach, against which the elephant is unable to defend itself. Dürer produced a first edition of his woodcut in 1515, in the first state, which is distinguished by only five lines of text in the heading. The thick folded skin of the Indian rhinoceros has been portrayed as something more like armour plating. It has a strong pointed horn on the tip of its nose, which it sharpens on stones. The Portuguese vessel stopped briefly at an island off Marseilles,[18] where the rhinoceros disembarked to be beheld by the King on 24 January. [2] Dürer never saw the actual rhinoceros, which was the first living example seen in Europe since Roman times. If a stuffed rhinoceros did arrive in Rome, its fate remains unknown: it might have been removed to Florence by the Medici or destroyed in the 1527 sack of Rome. After the fall of the Roman Empire, Asian animals previously imported for circuses and gladitorial events became scarce or non-existent in Western Europe. The King was keen to curry favour with the Pope, to maintain the papal grants of exclusive possession to the new lands that his naval forces had been exploring in the Far East since Vasco da Gama discovered the sea route to India around Africa in 1498. [49], Although very popular, few prints have survived and impressions of the first edition are very rare. David nalle: Albrecht Durer Gothic. In any event, there was not the popular sensation in Rome that the living beast had caused in Lisbon, although a rhinoceros was depicted in contemporary paintings in Rome by Giovanni da Udine and Raphael. After a relatively fast voyage of 120 days, the rhinoceros was finally unloaded in Portugal, near the site where the Manueline Belém Tower was under construction. [1] The image is based on a written description and brief sketch by an unknown artist of an Indian rhinoceros that had arrived in Lisbon in 1515. It is the mortal enemy of the elephant. (He never personally saw one.) Albrecht Dürer's Rhinoceros Can you make a visual representation of something you've never actually seen? Manfred Klein. Consequently, the historical impact of the woodcut was enormous. After two years he left the apprenticeship with his father to be … When Durer was young he le arned how to be a goldsmith like his father. On Trinity Sunday, 3 June, Manuel arranged a fight with a young elephant from his collection, to test the account by Pliny the Elder that the elephant and the rhinoceros are bitter enemies. Europe was witnessing a revolution in how the animal kingdom was perceived. 473x327 (35929 octets) ( fr:Rhinocéros Rhinocéros dessiné par fr:Albrecht_Dürer Albrecht Dürer en fr:1515 1515. But Durerâs âRhinocerosâ is more than just the depiction of an exotic beast. He also assures the viewer that “This is an accurate representation”. It is the size of an elephant but has shorter legs and is almost invulnerable. ^ Some sources erroneously say 1513, copying a typographical error made by Dürer in one of his original drawings and perpetuated in his woodcut. [36] Images derived from it were included in naturalist texts, including Sebastian Münster's Cosmographiae (1544), Conrad Gessner's Historiae Animalium (1551), Edward Topsell's Histoire of Foure-footed Beastes (1607) and many others. His woodcuts had made him one of the most famous and successful artists in Europe. [14] The rhinoceros advanced slowly and deliberately towards its foe; the elephant, unaccustomed to the noisy crowd that turned out to witness the spectacle, fled the field in panic before a single blow was struck.[15][16]. This is an accurate representation. Dürer’s Rhinoceros is a woodcut created by Albrecht Dürer in 1515 A.D. As an illustration of an animal at the center of a famous series of events, the woodcut was highly popular in the artist’s lifetime. Work location: Deutsch: Nürnberg, Augsburg, Venedig, Niederlande. A fine example was sold at Christie's New York in 2013 for $866,500, setting a new auction record for the artist. This famous sketch of a rhinoceros was created in 1515 by the influential German artist, Albrecht Dürer, reflecting the growing interest in foreign curiosities that had emerged in tangent with the overseas voyages of exploration, commerce and conquest by the Spanish and Portuguese. (Bedini, p.121.) Title: The Rhinoceros. [13] The only known copy of the original published poem is held by the Institución Colombina in Seville. 23.8 cm 29.9 cm. The original document in German has not survived, but a transcript in Italian is held in the Biblioteca Nazionale Centrale in Florence. None of these features is present in a real rhinoceros. La imagen se basaba en … On the other hand, his depiction of the texture may represent dermatitis induced by the rhinoceros' close confinement during the four-month journey by ship from India to Portugal. Extremely popular, it went through eight editions. Accession Number: 19.73.159. The ruler of Gujarat, Sultan Muzafar II (1511-26) had presented it to Alfonso d'Albuquerque, the governor of Portuguese India. Provenance. This image of a gift from a colonial governor to his king reflects a confidently expansionist Europe intent on bringing what it saw as its own superior civilisation to a world outside Europe that it thought savage and ignorant. Manuel decided to give the rhinoceros as a gift to the Medici Pope Leo X. 136; M., Holl. On 20 May 1515, an Indian rhinoceros arrived in Lisbon from the Far East. Dürer hatte das Nashorn selbst nie gesehen. The tower was later decorated with gargoyles shaped as rhinoceros heads under its corbels. The image is based on a written description and brief sketch by an unknown artist of an Indian rhinoceros that had arrived in Lisbon in 1515. 1. The woodcut was, per Quammen, p.204, cut on the block by a specialist craftsman known as a, Rough translation of the German original. Albuquerque passed the gift on to Dom Manuel I, the king of Portugal. Durerâs text at the top of the woodcut confirms the impression that the image gives of a powerful fighting beast feared even by elephants. . He places a small twisted horn on its back and gives it scaly legs and saw-like rear quarters. Albrecht Dürer had a showman’s instincts for killer subject matter. So he began to a prepare a pen sketch relying on the written description and the sketch made by an unknown artist. Meder 1932 / Dürer Katalog (273.1) Bartsch / Le Peintre graveur (VII.147.136) Dodgson 1903, 1911 / Catalogue of Early German and Flemish Woodcuts in the BM, 2 vols (I.307.125) (first edition) Schoch 2001-04 / Albrecht Dürer, das druckgraphische Werk. [36] Janssen decided to re-issue the block with the addition of a new tone block printed in a variety of colours, olive-green and dark green, as well as blue-grey. The rhinoceros is so well-armed that the elephant cannot harm it. Brought from India to the great and powerful King Emanuel of Portugal at Lisbon a live animal called a rhinoceros. Some reports say that the mounted skin was sent to Rome, arriving in February 1516, to be exhibited impagliato (Italian for "stuffed with straw"), although such a feat would have challenged 16th-century methods of taxidermy, which were still primitive. Durer never saw the rhinoceros himself. A blackletter. Artist: Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg) Date: 1515. Cet animal avait été offert par le roi du Portugal Manuel Ier au pape Leo X. Creator/Artist; Name: Dürer, Albrecht: Date of birth/death: 1471-05-21: 1528-04-06: Location of birth/death: Deutsch: Nürnberg. He also assures the viewer that âThis is an accurate representationâ. Rhinoceros. [41] A sculpture of a rhinoceros based on Dürer's image was placed at the base of a 70-foot (21 m) high obelisk designed by Jean Goujon and erected in front of the Church of the Sepulchre in the rue Saint-Denis in Paris in 1549 for the royal entry welcoming the arrival of the new King of France, Henry II. 2-nov-2016 - and various related Dürer's Rhinoceros is the name commonly given to a woodcut executed by German painter and printmaker Albrecht Dürer in 1515. The excitement of Europeâs expanding horizons and ambitions as well as its increasing knowledge and understanding of the wider world and of nature. [29], Dürer's woodcut is not an accurate representation of a rhinoceros. History. It was one of the inspirations for Salvador Dalí; a reproduction of the woodcut hung in his childhood home and he used the image in several of his works. [47] Semiotician Umberto Eco argues (fetching the idea from E.H. Gombrich, Art and Illusion: A Study in the Psychology of Pictorial Representation, 1961) that Dürer's "scales and imbricated plates" became a necessary element of depicting the animal, even to those who might know better, because "they knew that only these conventionalized graphic signs could denote «rhinoceros» to the person interpreting the iconic sign." [12] A rhinoceros had not been seen in Europe since Roman times: it had become something of a mythical beast, occasionally conflated in bestiaries with the "monoceros" (unicorn), so the arrival of a living example created a sensation. Although the letterpress text atop this broadsheet suggests otherwise, he in fact copied the woodcut from a drawing and a description given by an eyewitness before the ship carrying this gift for the king of Portugal sank on the way from India. Only one impression (example) of Burgkmair's image has survived,[34] whereas Dürer's print survives in many impressions. Whereas, in the past, the study of zoology had been guided by classical authorities, there was a growing sense that firsthand observation was also of vital importance. Curator Susan Dackerman reveals the story behind the creation of Albrecht Dürer's famous "Rhinoceros" woodcut. Le Rhinocéros de Dürer est une gravure sur bois d’Albrecht Dürer datée de 1515.L’image est fondée sur une description écrite et un bref croquis par un artiste inconnu d’un rhinocéros indien (Rhinoceros unicornis) débarqué à Lisbonne plus tôt dans l’année. The German inscription on the woodcut, drawing largely from Pliny's account,[14] reads: On the first of May in the year 1513 AD [sic], the powerful King of Portugal, Manuel of Lisbon, brought such a living animal from India, called the rhinoceros. The geometrical overlays reminiscent of Duerer are another recurrent theme in Manfred Klein's work. Hear about the contest held by Manuel I of Portugal. Albrecht Dürer. Clarke, caption to colour plate I, p.181. Eventually, it was supplanted by more realistic drawings and paintings, particularly those of Clara the rhinoceros, who toured Europe in the 1740s and 1750s. [48], Until the late 1930s, Dürer's image appeared in school textbooks in Germany as a faithful image of the rhinoceros;[7] and it remains a powerful artistic influence. (21.3 x 29.5 cm) trimmed to block line except at top sheet: 9 3/8 x 11 3/4 in. He made a pen and ink drawing The Rhinoceros is a Northern Renaissance Wood Block Print Print created by Albrecht Dürer in 1515. Gilles Le Corre: 1525 Durer Initials (2010). Bois) (Bartsch's Le Peintre Graveur) 75 (A History of the World in 100 Objects) 160 (Albrecht Dürer: Complete woodcuts) C. D. 125 (Catalogue of Early German and Flemish Woodcuts in the British Museum, Vol. His form is here represented. The earliest known image of the animal illustrates a poemetto by Florentine Giovanni Giacomo Penni, published in Rome on 13 July 1515, fewer than eight weeks after its arrival in Lisbon. Its arrival caused a sensation and attracted crowds of visitors for several months eager to see for themselves an exotic creature from antiquity that had been newly rediscovered. Dürer's Rhinoceros is the name commonly given to a woodcut executed by German painter and printmaker Albrecht Dürer in 1515. His skill can be seen in the delicate shading and the intricate patterning of the animalâs hide. Medium: Woodcut. Dimensions: image: 8 3/8 x 11 5/8 in. Together with other precious gifts of silver plate and spices, the rhinoceros, with its new collar of green velvet decorated with flowers, embarked in December 1515 for the voyage from the Tagus to Rome. 241; S.M.S. Deutsch: Nürnberg. British Museum London, United Kingdom. [46] In 1790, James Bruce's travelogue Travels to discover the source of the Nile dismissed Dürer's work as "wonderfully ill-executed in all its parts" and "the origin of all the monstrous forms under which that animal has been painted, ever since". Good surviving impressions are rare, however. Credit Line: Gift of Junius Spencer Morgan, 1919. [35][39] There is an example in the British Museum. The rhinoceros travelled in a ship full of spices. [8] At that time, the rulers of different countries would occasionally send each other exotic animals to be kept in a menagerie. English: The Rhinoceros is a woodcut Albrecht Dürer made from a description provided him. Jean-Baptiste Oudry painted a life-size portrait of Clara the rhinoceros in 1749, and George Stubbs painted a large portrait of a rhinoceros in London around 1790. He did see descriptions of the animal, and even a sketch, sent from Lisbon to Nuremburg by eyewitnesses. (23.8 x 29.9 cm) Classification: Prints. The rhinoceros, chained and shackled to the deck to keep it under control, was unable to swim to safety and drowned. In particular, Oudry's painting was the inspiration for a plate in Buffon's encyclopedic Histoire naturelle, which was widely copied. Melvyn Bragg and guests discuss the great German artist Albrecht Dürer (1471-1528) who achieved fame throughout Europe for the power of his images. It sailed on the Nossa Senhora da Ajuda,[9] which left Goa in January 1515.
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