Đang chuẩn bị nút TẢI XUỐNG, xin hãy chờ
Tải xuống
The pure silhouette of the piece, however, is only a part of the original decorative scheme. Italian armorers of the fifteenth century had learned to combine simplicity of line with pro- tective features that could hardly be improved upon; hence the energies of artists were increas- ingly expended upon ornamentation and enrich- ment. This helmet was not only a protection against the weapons of an enemy, but at. | Norbert Jopek Durer and Sculpture Albrecht Durer s impact and influence on other media such as stained glass Italian maiolica goldsmiths work and German stoneware is a simple fact. Research on these subjects has been steadily developed over the last 50 years through the studies of Ingeborg Kruger and David Gaimster on German stoneware Karl Adolph Knappe Hartmut Scholz Barbara Butts and Lee Hendrix on stained glass Matthias Mende and Hermann Maué on medals.1 Heinrich Kohlhaussen Johann Michael Fritz Rudolf Distelberger and Hildegard Wievelhove have expanded our knowledge on goldsmiths work.2 Dora Thornton has further investigated Italian maiolica and its relationship to Durer.3 Durer and sculpture however is a particular minefield for scholars. There is of course general agreement that his engravings and woodcuts were widely disseminated and used in sculptor s workshops for reliefs and altarpieces from the Tyrol to Gdansk.4 In particular the generation of sculptors after Durer were greatly indebted to his designs. These men included Gregor Erhart Hans Daucher Victor Kayser in Augsburg and Loy Hering in Eichstătt who employed the soft Solnhofen limestone as an appropriate substitute for marble for small reliefs which are more often than not based on graphic sources by Durer.5 But this aspect is not the principal subject of my paper. Here I am primarily concerned with Durer and his intimate and complex relationship with sculpture in general and particularly with Sandrart s contention of 1675 that Durer also practiced sculpture - the question of Durer as pictor et sculptor. This will lead to the question of the extent of his involvement in certain sculptural projects of his time. And lastly I would like to touch briefly on the importance of his theoretical writing for artists which was also addressed to sculptors. The story starts interestingly around 1600 when the figures of Adam and Eve formerly in the collection of Cardinal Granvella but then in the possession of .
