The rhinocerosâ 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. Work location: Deutsch: Nürnberg, Augsburg, Venedig, Niederlande. [13] The only known copy of the original published poem is held by the Institución Colombina in Seville. [2] Dürer never saw the actual rhinoceros, which was the first living example seen in Europe since Roman times. Rhinoceros. In particular, Oudry's painting was the inspiration for a plate in Buffon's encyclopedic Histoire naturelle, which was widely copied. (Bedini, p.121.). It sailed on the Nossa Senhora da Ajuda,[9] which left Goa in January 1515. [42] A similar rhinoceros, in relief, decorates a panel in one of the bronze west doors of Pisa Cathedral. fr:Utilisateur:Christophe.moustier Christophe.moustier ( fr:Discussion_Utilisateur:Christophe.moustier Discuter) . The rhinoceros travelled in a ship full of spices. See also a French translation in the doctoral thesis of Bruno Faidutti at l', Group of History and Theory of Science – Dürer's Rhinoceros, História do famoso rhinocerus de Albrecht Dürer, "Albrecht Dürer's Rhinoceros, a drawing and woodcut", The Durer Rhinoceros - Masterpieces of the British Museum, File:Durer's Rhinoceros on Cathedral Door, Pisa C17th.jpg, "Albrecht Dürer: Masterpieces from a Private Collection", Joachim and Anne Meeting at the Golden Gate, Portrait of the Artist's Mother at the Age of 63, Colossal quartzite statue of Amenhotep III, Amun in the form of a ram protecting King Taharqa, https://en.wikipedia.org/w/index.php?title=Dürer%27s_Rhinoceros&oldid=996864863, Prints and drawings in the British Museum, Articles with French-language sources (fr), Articles with Portuguese-language sources (pt), Wikipedia articles with WorldCat-VIAF identifiers, Creative Commons Attribution-ShareAlike License. A blackletter. Schulfilm zu "Rhinocerus", einem Werk des Nürnberger Künstlers Albrecht Dürer aus dem Jahre 1515. Gilles Le Corre: 1525 Durer Initials (2010). Only one impression (example) of Burgkmair's image has survived,[34] whereas Dürer's print survives in many impressions. 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. [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. Albrecht Dürer had a showman’s instincts for killer subject matter. This is an accurate representation. He places a small twisted horn on its back and gives it scaly legs and saw-like rear quarters. 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. It has the colour of a speckled tortoise and it is covered with thick scales. 473x327 (35929 octets) ( fr:Rhinocéros Rhinocéros dessiné par fr:Albrecht_Dürer Albrecht Dürer en fr:1515 1515. Find more prominent pieces of animal painting at Wikiart.org – best visual art database. 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. He depicts an animal with hard plates that cover its body like sheets of armour, with a gorget at the throat, a solid-looking breastplate, and what appear to be rivets along the seams. The thick folded skin of the Indian rhinoceros has been portrayed as something more like armour plating. Albrecht Durer. The excitement of Europeâs expanding horizons and ambitions as well as its increasing knowledge and understanding of the wider world and of nature. It is an emblem of the world of his time. He made a pen and ink drawing The carcass of the rhinoceros was recovered near Villefranche, and its hide was returned to Lisbon, where it was stuffed. Albrecht Dürer, a German painter and printmaker living in Nuremberg, was captivated by the strangeness of the animal. Europe was witnessing a revolution in how the animal kingdom was perceived. Source. [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. It was regarded by Westerners as a true representation of a rhinoceros into the late 18th century. The rhinoceros is so well-armed that the elephant cannot harm it. 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. Clarke, caption to colour plate I, p.181. 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. None of these features is present in a real rhinoceros,[5][6] although the Indian rhinoceros does have deep folds in its skin that can look like armor from a distance. (Bedini, p.121.) 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. Credit Line: Gift of Junius Spencer Morgan, 1919. Original upload log (suppr) (actu) 17 juin 2005 à 22:56 . Melvyn Bragg and guests discuss the great German artist Albrecht Dürer (1471-1528) who achieved fame throughout Europe for the power of his images. [40][50], Some sources erroneously say 1513, copying a typographical error made by Dürer in one of his original drawings and perpetuated in his woodcut. ^ Some sources erroneously say 1513, copying a typographical error made by Dürer in one of his original drawings and perpetuated in his woodcut. Accession Number: 19.73.159. The geometrical overlays reminiscent of Duerer are another recurrent theme in Manfred Klein's work. Rhinocéros dessiné par Albrecht Dürer en 1515. 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. Durer never saw the rhinoceros himself. [3][4], Dürer's woodcut is not an entirely accurate representation of a rhinoceros. Consequently, the historical impact of the woodcut was enormous. Rhinocerus (Rhinoceros) by Albrecht Dürer. 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. The Portuguese vessel stopped briefly at an island off Marseilles,[18] where the rhinoceros disembarked to be beheld by the King on 24 January. 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. Albrecht Dürer Rhinoceros. 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. It has a strong pointed horn on the tip of its nose, which it sharpens on stones. The ruler of Gujarat, Sultan Muzafar II (1511-26) had presented it to Alfonso d'Albuquerque, the governor of Portuguese India. Dürer hatte das Nashorn selbst nie gesehen. 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. [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. Cole, F.J. (Francis Joseph), "The History of Albrecht Durer's Rhinoceros in Zoological Literature," essay in Underwood, E. Ashworth (ed. [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. 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 has been said of Dürer's woodcut: "probably no animal picture has exerted such a profound influence on the arts".[7]. [37][38] The resulting chiaroscuro woodcut, which entirely omitted the text, was published after 1620. (He never personally saw one.) 136; M., Holl. Deutsch: Nürnberg. La imagen se basaba en … On 20 May 1515, an Indian rhinoceros arrived in Lisbon from the Far East. Extremely popular, it went through eight editions. 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. It is the size of an elephant but has shorter legs and is almost invulnerable. Despite its anatomical inaccuracies, Dürer's woodcut became very popular in Europe and was copied many times in the following three centuries. [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. It was to be housed in the Kingâs menagerie at the Ribeira Palace in Lisbon. 136 (Grav. The commercial success of Durerâs image reflected the excitement that had been created by the animalâs arrival. His skill can be seen in the delicate shading and the intricate patterning of the animalâs hide. 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. 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. 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"). Albrecht Durer. The rhinoceros, chained and shackled to the deck to keep it under control, was unable to swim to safety and drowned. 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. (23.8 x 29.9 cm) Classification: Prints. Melvyn Bragg and guests discuss the great German artist Albrecht Dürer (1471-1528) who achieved fame throughout Europe for the power of his images. Manfred Klein. 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. 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. Eventually, it was supplanted by more realistic drawings and paintings, particularly those of Clara the rhinoceros, who toured Europe in the 1740s and 1750s. He also assures the viewer that âThis is an accurate representationâ. ‘Rhinoceros’ was created in 1515 by Albrecht Durer in Northern Renaissance style. Dürer n’a jamais observé ce rhinocéros qui était le premier individu vivant vu en Europe depuis l’époque romaine. 136; M., Holl. 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. Dimensions: image: 8 3/8 x 11 5/8 in. 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 rhinoceros had been given as a gift by the ruler of Cambaia to Afonso de Albuquerque, the Portuguese … 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. 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. 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 the fall of the Roman Empire, Asian animals previously imported for circuses and gladitorial events became scarce or non-existent in Western Europe. [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. 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 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. [11] Many further printings followed after Dürer's death in 1528, including two in the 1540s, and two more in the late 16th century. A duel between a rhinocerus and an elephant? 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. [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. [43] The rhinoceros was depicted in numerous other paintings and sculptures and became a popular decoration for porcelain. Medium: Woodcut. [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". [35][39] There is an example in the British Museum. [11], The block passed into the hands of the Amsterdam printer and cartographer Willem Janssen (also called Willem Blaeu amongst other names). But Durerâs âRhinocerosâ is more than just the depiction of an exotic beast. The image is available via Institutional Open Content, and tagged Animals. Albuquerque passed the gift on to Dom Manuel I, the king of Portugal. 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. See Clarke, p.19, for a photograph of a gargoyle. Albrecht Dürer's Rhinoceros Can you make a visual representation of something you've never actually seen? A fine example was sold at Christie's New York in 2013 for $866,500, setting a new auction record for the artist. Manuel decided to give the rhinoceros as a gift to the Medici Pope Leo X. 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. 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. [8] At that time, the rulers of different countries would occasionally send each other exotic animals to be kept in a menagerie. None of these features is present in a real rhinoceros. His decision to issue the image as a woodcut made it accessible to many more people eager to experience something of that excitement. He did this until until he was 15 and started training with Michael Wolgemut. The mission returned without an agreement, but diplomatic gifts were exchanged, including the rhinoceros. Dürer's Rhinoceros is the name commonly given to a woodcut executed by German painter and printmaker Albrecht Dürer in 1515. [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. [23] Dürer – who was acquainted with the Portuguese community of the factory at Antwerp[24] – saw the second letter and sketch in Nuremberg. Durer was a master of the woodcut and had brought greater artistic vision and intellectual depth to the medium. Dürer's Rhinoceros is the name commonly given to a woodcut executed by German painter and printmaker Albrecht Dürer in 1515. Dürer was born in Germany in 1471 and in his teenage years he became an apprentice to his father. 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. King Francis I of France was returning from Saint-Maximin-la-Sainte-Baume in Provence, and requested a viewing of the beast. Albrecht Dürer. 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. It lives at the Metropolitan Museum of Art in New York. So he began to a prepare a pen sketch relying on the written description and the sketch made by an unknown artist. He also notes that the skin of a rhinoceros is rougher than it visually appears and that such plates and scales portray this non-visual information to a degree. ), This page was last edited on 28 December 2020, at 23:58. The tower was later decorated with gargoyles shaped as rhinoceros heads under its corbels. The original document in German has not survived, but a transcript in Italian is held in the Biblioteca Nazionale Centrale in Florence. Albrecht Dürer (1471-1528), « Le Rhinocerus de Lisbonne », 1515, xylographie sur papier, 21,4×29,8. Albrecht Dürer never saw a rhinoceros in real life. 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. 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. History. The Rhinoceros is a Northern Renaissance Wood Block Print Print created by Albrecht Dürer in 1515. He did see descriptions of the animal, and even a sketch, sent from Lisbon to Nuremburg by eyewitnesses. [1] The image was based on a written description and brief sketch by an unknown artist of an Indian rhinoceros that had arrived in Lisbon earlier that year. [10] The ship, captained by Francisco Pereira Coutinho,[11] and two companion vessels, all loaded with exotic spices, sailed across the Indian Ocean, around the Cape of Good Hope and north through the Atlantic, stopping briefly in Mozambique, Saint Helena and the Azores. [30] Alternatively, Dürer's "armour" may represent the heavy folds of thick skin of an Indian rhinoceros, or, as with the other inaccuracies, may simply be misunderstandings or creative additions by Dürer. The woodcut was, per Quammen, p.204, cut on the block by a specialist craftsman known as a, Rough translation of the German original. 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. He places a small twisted horn on its back and gives it scaly legs and saw-like rear quarters. In the context of the Renaissance, it was a piece of classical antiquity which had been rediscovered, like a statue or an inscription. When Durer was young he le arned how to be a goldsmith like his father. 1) 299 (Kurth's Complete Woodcuts of Albrecht Dürer) Albrecht Dürer The Rhinoceros (B. 23.8 cm 29.9 cm. [37] This was the seventh of the eight editions in all of the print. [35] Later printings have six lines of descriptive text. [25][26] and printed a reversed reflection of it.[20][27]. [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. 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. Home Biography Rhinoceros Legacy of Durer Bibliography Biography Education. 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. It is said that the rhinoceros is fast, impetuous and cunning. 3 vols I … The Rhinoceros. It's fair to say that this woodcut is not a fully accurate representation of an Indian rhinoceros through its depiction of the animal being covered in what looks like armor. [32], A second woodcut was executed by Hans Burgkmair in Augsburg around the same time as Dürer's in Nuremberg.
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