The School of Durer, Madonna Nursing
Signed The School of Durer etching, Madonna Nursing
|Artist:||The School of Durer (1500 - 1600)|
|Image Size:||4 1/2 in x 2 7/8 in (11.4 cm x 7.3 cm)|
|Sheet Size:||5 in x 3 1/4 in (12.7 cm x 8.3 cm)|
|Framed Size:||21 1/8 in x 19 1/4 in (53.7 cm x 48.9 cm)|
|Signature:||This work is monogrammed and dated with Albrecht Dürer's (Nuremburg, 1471- Nuremburg, 1528) signature initials in the plate 'AD' on a slate in the lower right.|
|Condition:||This work is in very good condition.|
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Item # 2978
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Historical Description of this artwork
Gazing down in absolute adoration, Mary offers sustenance to baby Christ. Mary smiles slightly with maternal love as she feeds her child, exemplifying her joy in giving birth to and caring for the baby Christ. The artist clearly states the holiness of both figures within this work, surrounding them in halos of white light. The use of strong parallel lines defines the two figures, particularly in the background and the folds of Mary's drapery. This elaborate use of shading and contrast between light and dark defines the space in which these two figures rest, providing a sense of depth and perspective.
This work is a copy in mirror image by a student or follower of Dürer created after the original engraving by Albrecht Dürer (Nuremburg, 1471- Nuremburg, 1528).
This etching is monogrammed and dated with Albrecht Dürer's (Nuremburg, 1471- Nuremburg, 1528) signature initials in the plate 'AD' on a slate in the lower right.
ORIGINAL ENGRAVING BY DURER FROM WHICH THIS WORK WAS BASED DOCUMENTED AND ILLUSTRATED IN:
1) Bartsch. (1981). The Illustrated Bartsch. Abaris Books: New York. Listed and illustrated as catalogue raisonnè no. 36 on pages 33 and 87-88.
2) Meder, J. (1932). Dürer-Katalog. Verlag Gilhofer & Ranschburg: Vienna. Listed as catalogue raisonné no. 39.
3) Scheller, R. & Boon, K. (1971). The Graphic Art of Albrecht Dürer, Hans Dürer and The Dürer School. Vangendt & Co.: Amsterdam. Listed and illustrated as catalogue raisonné no. 39.
4) Schoch, R. et. Al. (2002). Albrecht Dürer, Engravings, Etchings, and Dry Points. Prestel: München. Listed and illustrated as catalogue raisonnè no. 86 on pg. 213.
5) Strauss, W. (1980). Albrecht Dürer Intaglio Prints. Abaris Books, Inc.: NY. Listed and illustrated as catalogue raisonné no. 91 on pg. 254-255.
ABOUT THE FRAMING:
Museum-grade conservation framed in a complementary moulding with silk mats and optical grade Plexiglas.
What Do I Get With My Purchase?
The Certificate of Authenticity accompanies this work, guaranteeing its authenticity for as long as you own it.
All catalogue raisonné and historical documentation is included with your purchase.
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The School of Durer Biography
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 collaborationswith printmakers to distribute their work beyond local regions.
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.