The School of Durer , Flagellation (from the Engraved Passion)
The School of Durer , Engraving, Flagellation (from the Engraved Passion)
|Artist:||The School of Durer (1500 - 1600)|
|Title:||Flagellation (from the Engraved Passion)|
|Reference:||By Armand Durand (1831-1905) after Albrecht Dürer (Nuremburg, 1471- Nuremburg, 1528)|
|Image Size:||4 5/8 in x 2 15/16 in (11.8 cm x 7.4 cm)|
|Sheet Size:||5 in x 3 1/8 in (12.7cm x 7.9 cm)|
|Framed Size:||22 3/4 in x 20 5/8 in (57.8 cm x 52.4 cm)|
|Signed:||The initials of Albrecht Dürer (Nuremburg, 1471- Nuremburg, 1528) 'AD,' are engraved in the plate on a slate in the upper left with the Armand Durand stamp on verso.|
|Edition:||This restrike work was created by Armand Durand (1831-1905) after the original engraving by Albrecht Dürer (Nuremburg, 1471- Nuremburg, 1528).<|
|Condition:||This work is in very good condition, a bold, crisp impression.|
Evoking a sense of sympathy, this copy by Armand Durand created after Dürer's original engraving exemplifies the cruelty that mankind is capable of. Notable in this work is the artist's creation of a three dimensional space with a sense of depth and perspective, achieved through his strategic use of light and shadow.
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Hunched over in pain, Christ undergoes a cruel beating by two henchmen. Strauss states of this piece, "Christ is no longer pictured frontally, but in profile. Only his hands are tied to the column, whereas his body is quivering. The column is cut by the upper margin of the plate, hinting at the expanse of the chamber" (Bartsch, pg. 32). Durand indeed creates a three dimensional space with a sense of depth and perspective. He places Christ in the center flanked on both sides by two men who are shown with arms raised in the moment before the whips touch Christ's skin. In the background, onlookers gaze on, surprisingly serene, neither for nor against the act but simply observing. Nonetheless, this piece evokes a sense of sympathy from the viewer as Christ appears helpless and weak, subject to unfair torment.
Created after the original engraving by Albrecht Dürer (Nuremburg, 1471- Nuremburg, 1528) this work is a restrike by Armand Durand (1831-1905). Dürer created the original to illustrate a volume entitled the Engraved Passion. This work is monogrammed with the Dürer's initials, AD, in the plate on a slate in the upper left. The Musée des Beaux-Arts, Berne stamp (Lugt 236a) is in the lower left with the Armand Durand stamp on the verso.
1. Bartsch. (1981). The Illustrated Bartsch Vol. 10. Edited by Walter L. Strauss.
Abaris Books: New York. Listed and illustrated as catalogue raisonnè
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Biography of The School of Durer
<p>Albrecht Dürer (Nuremburg, 1471- Nuremburg, 1528) greatly influenced artists
of succeeding generations, particularly in printmaking. His reputation, which
spread far and wide across Europe through his prints, inspired other major artists
such as Raphael (1483 - 1520), Titian (1477 - 1576), and Parmigianino (1503
- 1540), who later followed in Dürer's footsteps and entered into collaborations
with printmakers to distribute their work beyond local regions.</p>
Dürer's prints greatly affected his German successors such as Hans Baldung
Grien (1484 - 1545) and Albrecht Altdorfer (1480 - 1538), particularly the "Little
Masters" who worked on a small scale but continued to depict Dürer's
themes. Many Italian engravers such as Giulio Campagnola (1482 - 1415), Christofano
Robetta (1462 - 1534), Marcantonio Raimondi (1475 - 1534), and Agostino Veneziano
(1490 - 1540) trained after Dürer, learning from and admiring his work.
They often directly copied parts of his landscape backgrounds or the prints
in their entirety in order to better their craft. Seen as a master printmaker
and artistic inspiration, the School of Dürer emerged with works created
in his masterful style by students and admirers alike. <br>