{"id":17049,"date":"2019-09-05T12:45:09","date_gmt":"2019-09-05T12:53:00","guid":{"rendered":"https:\/\/blog.museunacional.cat\/?p=17049"},"modified":"2020-07-13T13:22:05","modified_gmt":"2020-07-13T13:22:05","slug":"the-influence-of-durer-on-the-renaissance-and-baroque-of-the-museum","status":"publish","type":"post","link":"https:\/\/blog.museunacional.cat\/en\/the-influence-of-durer-on-the-renaissance-and-baroque-of-the-museum\/","title":{"rendered":"The influence of D\u00fcrer on the Renaissance and Baroque of the museum"},"content":{"rendered":"\n
Joan Yeguas<\/h6>\n\n\n\n

Albrecht\nD\u00fcrer<\/a> was a recognised German painter\nand printer from the Renaissance period. \nHis woodcut prints were fundamental for the pictorial and sculptural art\nof the 16th century throughout Europe. \nThe influence of engraving as a source of inspiration is a well-known\ntheme and one studied by specialists.  In\nItaly, it is worth highlighting the testimony of Giorgio Vasari<\/a>\nin the biography by Pontormo (see the \u201cVite\u201d from the 1568 edition), when he\nmentions the arrival of numerous engravings of D\u00fcrer, and how these were\nimitated or served as inspiration for a large part of the Florentine artists\nfrom the first half of the 16th century. \nIt’s also interesting to follow the traces of the German master in the\nart of the 16th century produced in the Iberian peninsula, as stated by the\nwriter Diego\nAngulo<\/a> in 1944 (or other scholars, such\nas Francisco J. S\u00e1nchez Cant\u00f3n, Ana \u00c1vila, Carmen Morte, Joaquim Garriga). <\/p>\n\n\n\n

Angulo states that some artists faithfully copied D\u00fcrer, <\/strong>even in a servile way, without any inconvenience in repeating the scenes, but there are others that only tend to take on separate motives,<\/strong> while some third parties transform the original compositions so much that it is difficult to see the relationship with the model. The prints were disseminated thanks to the circulation of commerce and the arrival of foreign painters<\/strong>, through which the artists found out and could echo the novelties that existed on the international scene. <\/p>\n\n\n\n

Among the painters active in Catalonia in the 16th century who used the German printmaker, we can find the Master of Castelsardo, Joan de Burgunya, Pere Matas (and also his son Joan Matas), Joan Gasc\u00f3, Perris de Fontaines, Blai Guiu (previously called the Master of Balaguer), Pere Nunyes, the Master of Castell\u00f3 d\u2019Emp\u00faries, Pietro Paolo of Montalbergo or Perris de la Roca; without forgetting the case of the sculptors such as Dami\u00e0 Forment or Jeroni Xanxo. <\/p>\n\n\n\n

Nevertheless, it should be noted\nthat D\u00fcrer was not the only printmaker that painters reproduced.  Nordic printers also used him  (such as Martin Schongauer, Israhel van\nMeckenem junior, Lucas van Leyden, Albrecht Altdorfer, Cornelis Cort, etc) or\nItalians (Marcantonio Raimondi \u2013 echoing the paintings of Rafael, Ugo da Carpi,\nMarco Dente, Agostino Veneziano, Jacopo Caraglio, Giulio Bonasone, Giovanni\nBattista d\u2019Angeli, Enea Vico, Girolamo Macchietti or Agostino Carracci, among\nmany others).<\/p>\n\n\n\n

Artists of the Museu Nacional inspired by D\u00fcrer<\/h3>\n\n\n\n

What we have expressed in the previous paragraphs, is reflected in the Renaissance and Baroque art collection<\/a> of the Museu Nacional d\u2019Art de Catalunya. <\/p>\n\n\n\n

One of the earliest examples is the Master of Castelsardo, in his panels from the altarpiece of Sant Vicen\u00e7 de Sarri\u00e0, dated between 1500 and 1510. <\/p>\n\n\n\n

Joan Bosch i Ballbona noted how a\ngroup of councillors from the scene of Sant Vicen\u00e7 on the Gridiron<\/em><\/a>,\nhad taken some spectators from the print of the Ecce Homo<\/em> by D\u00fcrer, within the \u201cGreat Passion” series (1497-1500);\nand took the model of the German master in the placement of the characters from\nother altarpieces, such as the Martyrdom\nof the ten thousand<\/em> (1496), \u201cThe Whore of Babylon\u201d (1498) or \u201cConrad Celtis\npresenting his book to Maximilian I\u201d (1502). <\/p>\n\n\n\n