The Old man behind Daniel
| Reference: | 3410 |
| Author | Heinrich ALDEGREVER |
| Year: | 1555 |
| Measures: | 81 x 114 mm |
| Reference: | 3410 |
| Author | Heinrich ALDEGREVER |
| Year: | 1555 |
| Measures: | 81 x 114 mm |
Description
Daniel cross-examining the Elders; Daniel seated underneath a baldachin at right; the Elders standing in front of him at left, one having his hands tied.
Engraving, 1555, signed with monogram and dated on lower plate.
From "The story of Susanna".
Example in the first state of two. Excellent work, printed on contemporary laid paper, irregularly trimmed to platemark, in excellent condition.
Shortly before 1520, several young artists in the immediate circle of Albercht Dürer began making remarkably small engravings that challenged the viewer with a world in miniature; a world of new secular subject and of unconventional interpretations of traditional themes. Because of the scale of their engravings these artists have long been saddled with the unflattering collective name the Little Masters. The core of the group consist in three Nuremberg artists, Hans Sebald & Bartel Beham and Georg Pencz, Jacob Bink form Cologne and Heinrich Aldegrever from Soest.
Bibliografia
New Hollstein (German), The New Hollstein: German engravings, etchings and woodcuts 1400-1700 (32 I/II); Bartsch, Le Peintre graveur (VIII.371.32).
Heinrich ALDEGREVER (Paderborn, 1502; Soest, Westfalia, 1555–61)
|
German engraver, painter and designer. He was the most important graphic artist in Westphalia in the 16th century. His reputation rests largely on his ornamental designs, which make up about one third of his c. 300 engravings. They were principally intended as models for metalworkers but were also adapted by other craftsmen for such decorative arts as enamel, intarsia and book illustration. Aldegrever followed Dürer and the Nuremberg LITTLE MASTERS, deriving models for his paintings and subject prints as well as a full repertory of Renaissance ornamental motifs: fig and acanthus foliage, vases and cornucopia, combined with putti and satyrs, tritons, mermaids and dolphins, sphinxes, masks and medallions. From the beginning of his career Aldegrever was aware of the artistic trends of the time: the Dürer influence was strongest at its outset yielding somewhat in work of the 1530s to Mannerist tendencies under Netherlandish influence, though never waning entirely.
|
Heinrich ALDEGREVER (Paderborn, 1502; Soest, Westfalia, 1555–61)
|
German engraver, painter and designer. He was the most important graphic artist in Westphalia in the 16th century. His reputation rests largely on his ornamental designs, which make up about one third of his c. 300 engravings. They were principally intended as models for metalworkers but were also adapted by other craftsmen for such decorative arts as enamel, intarsia and book illustration. Aldegrever followed Dürer and the Nuremberg LITTLE MASTERS, deriving models for his paintings and subject prints as well as a full repertory of Renaissance ornamental motifs: fig and acanthus foliage, vases and cornucopia, combined with putti and satyrs, tritons, mermaids and dolphins, sphinxes, masks and medallions. From the beginning of his career Aldegrever was aware of the artistic trends of the time: the Dürer influence was strongest at its outset yielding somewhat in work of the 1530s to Mannerist tendencies under Netherlandish influence, though never waning entirely.
|