[8] At that time, the rulers of different countries would occasionally send each other exotic animals to be kept in a menagerie. The rhinoceros is so well-armed that the elephant cannot harm it. [31] Dürer also draws a scaly texture over the body of the animal, including the "armour". The Rhinoceros is a Northern Renaissance Wood Block Print Print created by Albrecht Dürer in 1515. Albuquerque passed the gift on to Dom Manuel I, the king of Portugal. 23.8 cm 29.9 cm. [19][20], Valentim Fernandes, a Moravian merchant and printer, saw the rhinoceros in Lisbon shortly after it arrived and described it in a newsletter sent to the Nuremberg community of merchants in June 1515. Dimensions: image: 8 3/8 x 11 5/8 in. (Bedini, p.121.). Cole, F.J. (Francis Joseph), "The History of Albrecht Durer's Rhinoceros in Zoological Literature," essay in Underwood, E. Ashworth (ed. He made his own drawing of the animal and soon produced the woodcut that proved to be one of the most commercially successful of its time. Developments in printing technology meant that his âRhinocerosâ could be reproduced in much greater quantities than previously and priced to be within the reach of the less wealthy. 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. [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. It is said that the rhinoceros is fast, impetuous and cunning. 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. Consequently, the historical impact of the woodcut was enormous. The carcass of the rhinoceros was recovered near Villefranche, and its hide was returned to Lisbon, where it was stuffed. 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. Home Biography Rhinoceros Legacy of Durer Bibliography Biography Education. [43] The rhinoceros was depicted in numerous other paintings and sculptures and became a popular decoration for porcelain. Clarke, caption to colour plate I, p.181. Dürer's Rhinoceros is the name commonly given to a woodcut executed by German painter and printmaker Albrecht Dürer in 1515. It was regarded by Westerners as a true representation of a rhinoceros into the late 18th century. 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. The tower was later decorated with gargoyles shaped as rhinoceros heads under its corbels. The animal was examined by scholars and the curious, and letters describing the fantastic creature were sent to correspondents throughout Europe. His skill can be seen in the delicate shading and the intricate patterning of the animalâs hide. In particular, Oudry's painting was the inspiration for a plate in Buffon's encyclopedic Histoire naturelle, which was widely copied. Its arrival caused a sensation and attracted crowds of visitors for several months eager to see for themselves an exotic creature from antiquity that had been newly rediscovered. British Museum London, United Kingdom. 136 (Grav. 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. Extremely popular, it went through eight editions. Albrecht Dürer had a showman’s instincts for killer subject matter. So he began to a prepare a pen sketch relying on the written description and the sketch made by an unknown artist. Albrecht Durer. 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"). 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. This is an accurate representation. Albrecht Dürer (1471-1528), « Le Rhinocerus de Lisbonne », 1515, xylographie sur papier, 21,4×29,8. The ruler of Gujarat, Sultan Muzafar II (1511-26) had presented it to Alfonso d'Albuquerque, the governor of Portuguese India. 241; S.M.S. Dürer's "Rhinoceros" was part of the exhibition "Prints and the Pursuit of Knowledge in Early Modern Europe," which was on view September 6–December 10, 2011 at the Arthur M. Sackler Museum. After the fall of the Roman Empire, Asian animals previously imported for circuses and gladitorial events became scarce or non-existent in Western Europe. Deutsch: Nürnberg. David nalle: Albrecht Durer Gothic. (He never personally saw one.) In the context of the Renaissance, it was a piece of classical antiquity which had been rediscovered, like a statue or an inscription. After two years he left the apprenticeship with his father to be … Title: The Rhinoceros. 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. Europe was witnessing a revolution in how the animal kingdom was perceived. Dürer n’a jamais observé ce rhinocéros qui était le premier individu vivant vu en Europe depuis l’époque romaine. Dürer's Rhinoceros is the name commonly given to a woodcut executed by German painter and printmaker Albrecht Dürer in 1515. 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. He did see descriptions of the animal, and even a sketch, sent from Lisbon to Nuremburg by eyewitnesses. The image is available via Institutional Open Content, and tagged Animals. [3][4], Dürer's woodcut is not an entirely accurate representation of a rhinoceros. 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 rivets along the seams. [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. His form is here represented. ‘Rhinoceros’ was created in 1515 by Albrecht Durer in Northern Renaissance style. The Rhinoceros. Martin Lorenz and Joan Pastor: VLNL TpDuro (2019). On Trinity Sunday, 3 June, Manuel arranged a fight with a young elephant from his collection, to test the account by Pliny the Elder that the elephant and the rhinoceros are bitter enemies. 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. His decision to issue the image as a woodcut made it accessible to many more people eager to experience something of that excitement. 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. Good surviving impressions are rare, however. Dürer never saw the actual rhinoceros, which was the first living example seen in Europe since Roman times. ), This page was last edited on 28 December 2020, at 23:58. fr:Utilisateur:Christophe.moustier Christophe.moustier ( fr:Discussion_Utilisateur:Christophe.moustier Discuter) . [5][6] It is possible that a suit of armour was forged for the rhinoceros's fight against the elephant in Portugal, and that these features depicted by Dürer are parts of the armour. He also assures the viewer that “This is an accurate representation”. [25][26] and printed a reversed reflection of it.[20][27]. Dürer hatte das Nashorn selbst nie gesehen. 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. . [35][39] There is an example in the British Museum. [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. Rhinoceros . 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. It lives at the Metropolitan Museum of Art in New York. 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. 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. Dürer produced a first edition of his woodcut in 1515, in the first state, which is distinguished by only five lines of text in the heading. Albrecht Dürer The Rhinoceros (B. Manuel decided to give the rhinoceros as a gift to the Medici Pope Leo X. La imagen se basaba en … [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. 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 woodcut was, per Quammen, p.204, cut on the block by a specialist craftsman known as a, Rough translation of the German original. The commercial success of Durerâs image reflected the excitement that had been created by the animalâs arrival. Melvyn Bragg and guests discuss the great German artist Albrecht Dürer (1471-1528) who achieved fame throughout Europe for the power of his images. [37][38] The resulting chiaroscuro woodcut, which entirely omitted the text, was published after 1620. 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. Rhinoceros. It has the colour of a speckled tortoise and it is covered with thick scales. Brought from India to the great and powerful King Emanuel of Portugal at Lisbon a live animal called a rhinoceros. 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. (23.8 x 29.9 cm) Classification: Prints. A fine example was sold at Christie's New York in 2013 for $866,500, setting a new auction record for the artist. The rhinoceros was already well accustomed to being kept in captivity. From David Tunick, Inc., Albrecht Dürer, The Rhinoceros (1515), Woodcut on laid paper, 8 1/2 × 11 3/4 in It sailed on the Nossa Senhora da Ajuda,[9] which left Goa in January 1515. [13] The only known copy of the original published poem is held by the Institución Colombina in Seville. He also assures the viewer that âThis is an accurate representationâ. 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. [17] The vessel passed near Marseille in early 1516. [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. Eventually, it was supplanted by more realistic drawings and paintings, particularly those of Clara the rhinoceros, who toured Europe in the 1740s and 1750s. But Durerâs âRhinocerosâ is more than just the depiction of an exotic beast. 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. It is thought to have sold as many as 5,000 copies in Durerâs lifetime and was to become the iconic image that Europeans turned to describe the rhinoceros until well into the eighteenth century. Albrecht Dürer The Rhinoceros woodcut with letterpress text, 1515, on laid paper, watermark Anchor in a Circle (M. 171), a good impression of this rare and important woodcut, first edition (of eight), with the crack in the block just beginning to show in the right hind leg, with the complete letterpress text above, with 3-5 mm. [23] Dürer – who was acquainted with the Portuguese community of the factory at Antwerp[24] – saw the second letter and sketch in Nuremberg. It is an emblem of the world of his time. Rhinocerus (Rhinoceros) by Albrecht Dürer. It has a strong pointed horn on the tip of its nose, which it sharpens on stones. The previous year, the Pope had been very pleased with Manuel's gift of a white elephant, also from India, which the Pope had named Hanno. [36] Janssen decided to re-issue the block with the addition of a new tone block printed in a variety of colours, olive-green and dark green, as well as blue-grey. 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. Hear about the contest held by Manuel I of Portugal. [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". It is the colour of a speckled tortoise,[28] and is almost entirely covered with thick scales. 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. 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. The King was keen to curry favour with the Pope, to maintain the papal grants of exclusive possession to the new lands that his naval forces had been exploring in the Far East since Vasco da Gama discovered the sea route to India around Africa in 1498. The thick folded skin of the Indian rhinoceros has been portrayed as something more like armour plating. See Clarke, p.19, for a photograph of a gargoyle. Durer’s text at the top of the woodcut confirms the impression that the image gives of a powerful fighting beast feared even by elephants. [37] This was the seventh of the eight editions in all of the print. 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. (21.3 x 29.5 cm) trimmed to block line except at top sheet: 9 3/8 x 11 3/4 in. To the modern eye it does not appear to be a very realistic depiction of a rhinoceros. 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. Accession Number: 19.73.159. ^ Some sources erroneously say 1513, copying a typographical error made by Dürer in one of his original drawings and perpetuated in his woodcut. Schulfilm zu "Rhinocerus", einem Werk des Nürnberger Künstlers Albrecht Dürer aus dem Jahre 1515. [32], A second woodcut was executed by Hans Burgkmair in Augsburg around the same time as Dürer's in Nuremberg. Español : El Rinoceronte de Durero es el nombre que recibe un grabado xilográfico creado por el pintor y grabador alemán Alberto Durero en 1515. Durer never saw the rhinoceros himself. Manfred Klein. [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. But when Dürer’s rhinoceros arrived in Lisbon, things weren’t quite so straightforward. [42] A similar rhinoceros, in relief, decorates a panel in one of the bronze west doors of Pisa Cathedral. He did this until until he was 15 and started training with Michael Wolgemut. The original document in German has not survived, but a transcript in Italian is held in the Biblioteca Nazionale Centrale in Florence. On the other hand, his depiction of the texture may represent dermatitis induced by the rhinoceros' close confinement during the four-month journey by ship from India to Portugal. English: The Rhinoceros is a woodcut Albrecht Dürer made from a description provided him. A duel between a rhinocerus and an elephant? (Bedini, p.121.) Albrecht Dürer Rhinoceros. All Rights Reserved. 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. History. Albrecht Dürer. When Durer was young he le arned how to be a goldsmith like 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. [44], The pre-eminent position of Dürer's image and its derivatives declined from the mid-to-late-18th century when more live rhinoceroses were transported to Europe, shown to the curious public, and depicted in more accurate representations. Work location: Deutsch: Nürnberg, Augsburg, Venedig, Niederlande. The geometrical overlays reminiscent of Duerer are another recurrent theme in Manfred Klein's work. [49], Although very popular, few prints have survived and impressions of the first edition are very rare. [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. Dürer was born in Germany in 1471 and in his teenage years he became an apprentice to his father. Rhinoceros. . Albrecht Dürer, a German painter and printmaker living in Nuremberg, was captivated by the strangeness of the animal. [47] Semiotician Umberto Eco argues (fetching the idea from E.H. Gombrich, Art and Illusion: A Study in the Psychology of Pictorial Representation, 1961) that Dürer's "scales and imbricated plates" became a necessary element of depicting the animal, even to those who might know better, because "they knew that only these conventionalized graphic signs could denote «rhinoceros» to the person interpreting the iconic sign." 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. Only one impression (example) of Burgkmair's image has survived,[34] whereas Dürer's print survives in many impressions. 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. [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. [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. Jean-Baptiste Oudry painted a life-size portrait of Clara the rhinoceros in 1749, and George Stubbs painted a large portrait of a rhinoceros in London around 1790. The animal had been shipped to Lisbon in 1515 as a gift to King Manuel I of Portugal by Afonso de Albequerque the governor of Portuguese India. 136; M., Holl. [35] Later printings have six lines of descriptive text. Despite its anatomical inaccuracies, Dürer's woodcut became very popular in Europe and was copied many times in the following three centuries. [11], The block passed into the hands of the Amsterdam printer and cartographer Willem Janssen (also called Willem Blaeu amongst other names). 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. 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.
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