Word: durer
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Dates: during 1870-1879
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...TITUS, 3 Stoughton, is the special retail agent in Cambridge, for the heliotypes published by Houghton, Osgood & Co. These heliotypes include many choice subjects from Correggio, Durer, Land-seer, and others. Specimens may be seen at Mr. Titus's room. The pictures are 19 X 24 inches in size, and retail at one dollar each...
...exceedingly suggestive to have Rembrandt placed before one, directly after Durer, - for these two masters afford a very striking contrast. Rembrandt has been called subjective in his method of seeing and representing things, while Durer is plainly objective. Rembrandt often chooses a scene, not because it strikes him as particularly worthy of representation, but because it will allow him to apply in some striking manner his favorite chiaro-oscuro, - witness "The Flight into Egypt," - while Durer has in his mind solely the object as he sees it. Durer is continually struggling to express "the truth, the whole truth, and nothing...
...relation of Rembrandt to Durer may be compared to that of Euripides to Sophocles. Euripides does not scruple to put a fine maxim into the mouth of any character whose surroundings suggest it to him, even if it is out of keeping, while Sophocles sacrifices everything to making each character in his plays a whole, refusing to be misled by his own passing thoughts...
Among the etchings is a "St. Jerome in his Study," which we can compare with Durer's treatment of the same subject. In Durer's engraving everything is plain and clear. St. Jerome sits in his study, which is flooded with morning sunlight. Rembrandt gives us St. Jerome in a study which we are tempted to think partly underground. He is meditating, and the shades of twilight almost hide him from our sight. Behind him, by dint of repeated efforts, we discover a dingy stone staircase, which either goes up into a dark entry or ends at a door...
...Durer gives us a vigorous old man engaged in earnest study. The technical means used are those by which he could best express what he saw. Rembrandt, on the other hand, having the same thing to express, forces us to peer through his artful darkness and lose our time in making conjectures as to where the staircase leads; in fact, if we can believe his great admirer, M. Charles Blanc, he draws upon our imagination for a lion. This seems too absurd to be true, but, nevertheless, in his criticism of this picture, M. Blanc speaks of "the lion which...