Dürer in DC: Some Observations on the Great Observer
Albrecht Dürer, “Head of an Apostle Looking Up” (1508). Brush and gray and black ink, gray wash,…
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Single Point Perspective: Dürer’s Doomed Knight
Albrecht Dürer, “Knight, Death and Devil” (1513). Engraving, overall: 9 5/8 x 7 3/8 inches.…
(via Met Envy Apparently Fueled National Gallery of Art’s Interest in Corcoran)
Buried in a Washington Post story about the court appearance of philanthropist Wayne Reynolds, a benefactor to the Corcoran Gallery opposed to its planned integration with the National Gallery of Art and George Washington University, is this gem (emphasis added):
(via Finding Refuge in Wyeth’s Windows)
Over the course of his career, the 20th century American artist Andrew Wyeth created 300 drawings and paintings of windows that are more about the people looking out them than the views they depict. Sixty of these meticulously crafted studies are on view through the end of November in the National Gallery of Art’s Andrew Wyeth: Looking Out, Looking In — the first show ever exclusively devoted to them.
(via Albrecht Dürer, Apocalyptic Self-Publishing Pioneer)
Familiar are Albrecht Dürer’s “Four Horsemen of the Apocalypse” (c.1497–98) — pestilence, war, famine, and death charging down on the bewildered masses, all cross-hatched in a meticulously detailed woodcut. Less known is that this illustrated 15th century Book of Revelation was self-published by a 27-year-old who saw the potential for the developing book market.
The same year that Albrecht Dürer created his famous rhinoceros woodcut, the German artist also collaborated on the first star charts printed in Europe. The 1515 maps of constellations from the Northern and Southern Hemispheres combined the scientific knowledge of the stars with Dürer’s illustrations.
Celestial Art and Science in Albrecht Dürer’s 1515 Star Charts
PARIS — Pliure (meaning “fold” in French) is a book-based small show, tastefully curated by Paulo Pires do Vale, about the artistic metamorphosis of books (those folded paper things). The exhibition brings together some 40 works dating from the 15th to the 21st centuries: films, sculptures, installations, paintings, and rare books.
One of the last series William Blake completed was on the woes of Job, that biblical figure tormented through a bet between God and Satan that his faith was tenuous. Blake, whonever achieved much financial success and found it a struggle to keep up his own adherence to his art, may have seen Job as a kindred spirit. Whatever the reasons for his intense work in transforming the story to visuals, the series of 21 engravings from 1825 represent the height of Blake’s print work.
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