Dürer Masterpieces in Colour Series by Herbert E. A. Furst

Author:Herbert E. A. Furst [Furst, Herbert E. A. (Herbert Ernest Augustus)]
Language: eng
Format: epub
Published: 2012-12-28T16:00:00+00:00

"The Moving Finger writes, and having writ,

Moves on; nor all your piety nor wit

Shall lure it back to cancel half a line."

There are a good many "lines" in the "Siskin" Madonna which bear cancelling: not one in the Madonna of the title-page of the "Marieenleben," which for that reason is a work of greater Art.

The fact is, that whilst his engraved and black and white work reaches at times monumental height, great in saecula saeculorum, there are too few of his painted pictures that have the power to arrest the attention of the student of Art, who must not be confounded with the student of Art-history.

As a painter he is essentially a primitive; as a graver he overshadows all ages.

Thus we see his great pictures one after the other: his Paumgaertner altar-piece, his "Deposition"—both in Munich; "The Adoration of the Magi" in the Uffizi; the much damaged but probably justly famed "Rosenkranz fest" in Prague, with his own portrait and that of his friend Pirckheimer in the background, and Emperor Max and Pope Julius II. in the foreground; the Dresden altar-piece, or the "Crucifixion," with the soft body of the crucified Christ and the weirdly fluttering loin-cloth; the strangely grotesque "Christ as a Boy in the Temple" in the Barberini Palace; the "Adam and Eve"; the "Martyrdom of the 10,000 Christians"—thus, I say, we see them one after the other pass before us, and are almost unmoved.

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