Word: durer
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Dates: during 1990-1999
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...Carl A. Weyerhauser Curator of Prints] asked me if I wanted to do a show." Marcantonio was a rather infamous counterfeiter in his time. He is considered the preeminent reproductive engraver, "the first and the best." For Pon the show began as a meditation on Marcantonio's copies of Durer, but evolved because she wanted to put those prints (the ones in the hallway) into a historical context...
...used? Is a multiplicity of identical images less valuable than a single one? All of these questions which society is deliberating now were equally significant at the turn of the century with the invention of photography, and even before that, four centuries ago, in the time of Marcantonio and Durer...
...already self-reproachful and even morbid personality; a link between the exaggerated graces of Botticelli (who died when Lotto was around 30) and the learned artificialities of Mannerism; an Italian who saw the point of Netherlandish art and Hieronymus Bosch along with Germans like Altdorfer and, especially, Durer, not long after Durer himself was being changed by Venice...
...poetic current that came out of it seem (as they seemed to the young Berenson a century ago) peculiarly congenial to modern eyes. His work is sown with recondite allegories, complicated quirks, unexpected twists of meaning. Despite its often ravishing formal beauty, it is full of unease. Apart from Durer's famous etching Melancholia, Renaissance art can show no more poignant portrayal of the way depression freezes both action and curiosity in its sufferers than Lotto's Portrait of a Young Man, circa 1530. It depicts its subject with sallow face, deep dark eyes and Hamlet-black clothes, idly toying...
...than people, let alone pagan divinities. His weakest drawings are of the figure, his strongest of vegetable nature--one especially, an ink drawing of creepers on a rock done around 1827, has a wiry inquisitorial line and a fierce truth to the motif that remind one, without exaggeration, of Durer. In landscape his hand roamed free, giving the foreground hill in Volterra, the Citadel, 1834, a lively splotching of indeterminate dark scrub whose excited marks carry more visual weight than the distant hill town. But his early portraits are maladroit Ingres, and he was almost incapable of bringing off large...