Cet animal avait été offert par le roi du Portugal Manuel Ier au pape Leo X. Creator/Artist; Name: Dürer, Albrecht: Date of birth/death: 1471-05-21: 1528-04-06: Location of birth/death: Deutsch: Nürnberg. This image of a gift from a colonial governor to his king reflects a confidently expansionist Europe intent on bringing what it saw as its own superior civilisation to a world outside Europe that it thought savage and ignorant. [14] The rhinoceros advanced slowly and deliberately towards its foe; the elephant, unaccustomed to the noisy crowd that turned out to witness the spectacle, fled the field in panic before a single blow was struck.[15][16]. When Durer was young he le arned how to be a goldsmith like his father. Le dessin est reporté sur le bois, puis gravé à la pointe et au burin, ensuite le tirage de la gravure fait que le sens est inversé sur la feuille par rapport au dessin initial. [32], A second woodcut was executed by Hans Burgkmair in Augsburg around the same time as Dürer's in Nuremberg. Durer’s text at the top of the woodcut confirms the impression that the image gives of a powerful fighting beast feared even by elephants. King Francis I of France was returning from Saint-Maximin-la-Sainte-Baume in Provence, and requested a viewing of the beast. In early 1514, Afonso de Albuquerque, governor of Portuguese India, sent ambassadors to Sultan Muzaffar Shah II, ruler of Cambay (modern Gujarat), to seek permission to build a fort on the island of Diu. Rhinoceros Albrecht Dürer 1515. [35][39] There is an example in the British Museum. . The commercial success of Durer’s image reflected the excitement that had been created by the animal’s arrival. Whereas, in the past, the study of zoology had been guided by classical authorities, there was a growing sense that firsthand observation was also of vital importance. [36] Janssen decided to re-issue the block with the addition of a new tone block printed in a variety of colours, olive-green and dark green, as well as blue-grey. It is an emblem of the world of his time. Rhinoceros . [3][4], Dürer's woodcut is not an entirely accurate representation of a rhinoceros. Rhinoceros. ), This page was last edited on 28 December 2020, at 23:58. Accession Number: 19.73.159. 23.8 cm 29.9 cm. Medium: Woodcut. [5][6] It is possible that a suit of armour was forged for the rhinoceros's fight against the elephant in Portugal, and that these features depicted by Dürer are parts of the armour. Albrecht Dürer The Rhinoceros (B. Despite its anatomical inaccuracies, Dürer's woodcut became very popular in Europe and was copied many times in the following three centuries. Español : El Rinoceronte de Durero es el nombre que recibe un grabado xilográfico creado por el pintor y grabador alemán Alberto Durero en 1515. It is said that the rhinoceros is fast, impetuous and cunning. The animal had been shipped to Lisbon in 1515 as a gift to King Manuel I of Portugal by Afonso de Albequerque the governor of Portuguese India. Both of these paintings were more accurate than Dürer's woodcut, and a more realistic conception of the rhinoceros gradually started to displace Dürer's image in the public imagination. Albrecht Dürer (1471-1528), « Le Rhinocerus de Lisbonne », 1515, xylographie sur papier, 21,4×29,8. The elephant is afraid of the rhinoceros, for, when they meet, the rhinoceros charges with its head between its front legs and rips open the elephant's stomach, against which the elephant is unable to defend itself. (23.8 x 29.9 cm) Classification: Prints. See also a French translation in the doctoral thesis of Bruno Faidutti at l', Group of History and Theory of Science – Dürer's Rhinoceros, História do famoso rhinocerus de Albrecht Dürer, "Albrecht Dürer's Rhinoceros, a drawing and woodcut", The Durer Rhinoceros - Masterpieces of the British Museum, File:Durer's Rhinoceros on Cathedral Door, Pisa C17th.jpg, "Albrecht Dürer: Masterpieces from a Private Collection", Joachim and Anne Meeting at the Golden Gate, Portrait of the Artist's Mother at the Age of 63, Colossal quartzite statue of Amenhotep III, Amun in the form of a ram protecting King Taharqa, https://en.wikipedia.org/w/index.php?title=Dürer%27s_Rhinoceros&oldid=996864863, Prints and drawings in the British Museum, Articles with French-language sources (fr), Articles with Portuguese-language sources (pt), Wikipedia articles with WorldCat-VIAF identifiers, Creative Commons Attribution-ShareAlike License. The Portuguese vessel stopped briefly at an island off Marseilles,[18] where the rhinoceros disembarked to be beheld by the King on 24 January. If a stuffed rhinoceros did arrive in Rome, its fate remains unknown: it might have been removed to Florence by the Medici or destroyed in the 1527 sack of Rome. The rhinoceros had been given as a gift by the ruler of Cambaia to Afonso de Albuquerque, the Portuguese … Consequently, the historical impact of the woodcut was enormous. . Durer was a master of the woodcut and had brought greater artistic vision and intellectual depth to the medium. It's fair to say that this woodcut is not a fully accurate representation of an Indian rhinoceros through its depiction of the animal being covered in what looks like armor. fr:Utilisateur:Christophe.moustier Christophe.moustier ( fr:Discussion_Utilisateur:Christophe.moustier Discuter) . [37][38] The resulting chiaroscuro woodcut, which entirely omitted the text, was published after 1620. [42] A similar rhinoceros, in relief, decorates a panel in one of the bronze west doors of Pisa Cathedral. This is an accurate representation. 136 (Grav. 473x327 (35929 octets) ( fr:Rhinocéros Rhinocéros dessiné par fr:Albrecht_Dürer Albrecht Dürer en fr:1515 1515. Dimensions: Height: 212 millimeters (woodcut) and Width: 296 millimeters (woodcut) The work I have chosen from the Northern Renaissance is Rhinocerus (Rhinoceros) by Albrecht Dürer. 2-nov-2016 - and various related Dürer's Rhinoceros is the name commonly given to a woodcut executed by German painter and printmaker Albrecht Dürer in 1515. La imagen se basaba en … Durer never saw the rhinoceros himself. Albuquerque passed the gift on to Dom Manuel I, the king of Portugal. The woodcut was, per Quammen, p.204, cut on the block by a specialist craftsman known as a, Rough translation of the German original. Even so, Bruce's own illustration of the African white rhinoceros, which is noticeably different in appearance to the Indian rhinoceros, still shares conspicuous inaccuracies with Dürer's work. He also notes that the skin of a rhinoceros is rougher than it visually appears and that such plates and scales portray this non-visual information to a degree. On 20 May 1515, an Indian rhinoceros arrived in Lisbon from the Far East. Albrecht Dürer had a showman’s instincts for killer subject matter. [22] A second letter of unknown authorship was sent from Lisbon to Nuremberg at around the same time, enclosing a sketch by an unknown artist. It was housed in King Manuel's menagerie at the Ribeira Palace in Lisbon, separate from his elephants and other large beasts at the Estaus Palace. [25][26] and printed a reversed reflection of it.[20][27]. It is the mortal enemy of the elephant. By this time the block was very damaged; the border lines were chipped, there were numerous woodworm holes and a pronounced crack had developed through the rhino's legs. Durer’s text at the top of the woodcut confirms the impression that the image gives of a powerful fighting beast feared even by elephants. He also assures the viewer that “This is an accurate representation”. Discover and collect art from Albrecht Dürer’s iconic The Rhinoceros series and more. [38][40], Despite its errors, the image remained very popular,[6] and was taken to be an accurate representation of a rhinoceros until the late 18th century. The mission returned without an agreement, but diplomatic gifts were exchanged, including the rhinoceros. 1) 299 (Kurth's Complete Woodcuts of Albrecht Dürer) Dürer may have anticipated this and deliberately chosen to create a woodcut, rather than a more refined and detailed engraving, as this was cheaper to produce and more copies could be printed. Only one impression (example) of Burgkmair's image has survived,[34] whereas Dürer's print survives in many impressions. The excitement of Europe’s expanding horizons and ambitions as well as its increasing knowledge and understanding of the wider world and of nature. He places a small twisted horn on its back and gives it scaly legs and saw-like rear quarters. [30] Alternatively, Dürer's "armour" may represent the heavy folds of thick skin of an Indian rhinoceros, or, as with the other inaccuracies, may simply be misunderstandings or creative additions by Dürer. The rhinoceros, chained and shackled to the deck to keep it under control, was unable to swim to safety and drowned. Its arrival caused a sensation and attracted crowds of visitors for several months eager to see for themselves an exotic creature from antiquity that had been newly rediscovered. The carcass of the rhinoceros was recovered near Villefranche, and its hide was returned to Lisbon, where it was stuffed. Title: The Rhinoceros. It was to be housed in the King’s menagerie at the Ribeira Palace in Lisbon. On the other hand, his depiction of the texture may represent dermatitis induced by the rhinoceros' close confinement during the four-month journey by ship from India to Portugal. [29], Dürer's woodcut is not an accurate representation of a rhinoceros. Source. [13] The only known copy of the original published poem is held by the Institución Colombina in Seville. Dürer produced a first edition of his woodcut in 1515, in the first state, which is distinguished by only five lines of text in the heading. A fine example was sold at Christie's New York in 2013 for $866,500, setting a new auction record for the artist. It is the size of an elephant but has shorter legs and is almost invulnerable. It has been said of Dürer's woodcut: "probably no animal picture has exerted such a profound influence on the arts".[7]. This famous sketch of a rhinoceros was created in 1515 by the influential German artist, Albrecht Dürer, reflecting the growing interest in foreign curiosities that had emerged in tangent with the overseas voyages of exploration, commerce and conquest by the Spanish and Portuguese. All Rights Reserved. [37] This was the seventh of the eight editions in all of the print. [11] Many further printings followed after Dürer's death in 1528, including two in the 1540s, and two more in the late 16th century. The original document in German has not survived, but a transcript in Italian is held in the Biblioteca Nazionale Centrale in Florence. The rhinoceros travelled in a ship full of spices. Albrecht Dürer's Rhinoceros Can you make a visual representation of something you've never actually seen? From David Tunick, Inc., Albrecht Dürer, The Rhinoceros (1515), Woodcut on laid paper, 8 1/2 × 11 3/4 in 241; S.M.S. © www.AlbrechtDurer.org 2019. The animal was examined by scholars and the curious, and letters describing the fantastic creature were sent to correspondents throughout Europe. See Clarke, p.19, for a photograph of a gargoyle. Work location: Deutsch: Nürnberg, Augsburg, Venedig, Niederlande. Dürer never saw the actual rhinoceros, which was the first living example seen in Europe since Roman times. It has the colour of a speckled tortoise and it is covered with thick scales. The rhinoceros was already well accustomed to being kept in captivity. Dürer was born in Germany in 1471 and in his teenage years he became an apprentice to his father. (21.3 x 29.5 cm) trimmed to block line except at top sheet: 9 3/8 x 11 3/4 in. But when Dürer’s rhinoceros arrived in Lisbon, things weren’t quite so straightforward. The Rhinoceros, which must have seemed like a mythical beast to those that viewed it first in Lisbon, would have been a potent symbol of that exotic, untamed, outside world to which Europe was bringing order and enlightenment. Martin Lorenz and Joan Pastor: VLNL TpDuro (2019). The popularity of the inaccurate Dürer image remained undiminished despite an Indian rhinoceros spending eight years in Madrid from 1580 to 1588 (although a few examples of a print of the Madrid rhinoceros sketched by Philippe Galle in Antwerp in 1586, and derivative works, have survived), and the exhibition of a live rhinoceros in London a century later, from 1684–86, and of a second individual after 1739. [12] A rhinoceros had not been seen in Europe since Roman times: it had become something of a mythical beast, occasionally conflated in bestiaries with the "monoceros" (unicorn), so the arrival of a living example created a sensation. (He never personally saw one.) Together with other precious gifts of silver plate and spices, the rhinoceros, with its new collar of green velvet decorated with flowers, embarked in December 1515 for the voyage from the Tagus to Rome. He depicts an animal with hard plates that cover its body like sheets of armour, with a gorget at the throat, a solid-looking breastplate, and what appear to be rivets along the seams. It sailed on the Nossa Senhora da Ajuda,[9] which left Goa in January 1515. [46] In 1790, James Bruce's travelogue Travels to discover the source of the Nile dismissed Dürer's work as "wonderfully ill-executed in all its parts" and "the origin of all the monstrous forms under which that animal has been painted, ever since". Home Biography Rhinoceros Legacy of Durer Bibliography Biography Education. "Albrecht Dürer The Rhinoceros (B. Dürer's Rhinoceros is the name commonly given to a woodcut executed by German painter and printmaker Albrecht Dürer in 1515. So he began to a prepare a pen sketch relying on the written description and the sketch made by an unknown artist. David nalle: Albrecht Durer Gothic. He places a small twisted horn on its back and gives it scaly legs and saw-like rear quarters. The Rhinoceros is a Northern Renaissance Wood Block Print Print created by Albrecht Dürer in 1515. Provenance. He did see descriptions of the animal, and even a sketch, sent from Lisbon to Nuremburg by eyewitnesses. A rhinoceros that was clearly based on Dürer's woodcut was chosen by Alessandro de' Medici as his emblem in June 1536, with the motto "Non vuelvo sin vencer" (old Spanish for "I shall not return without victory"). Good surviving impressions are rare, however. Meder 1932 / Dürer Katalog (273.1) Bartsch / Le Peintre graveur (VII.147.136) Dodgson 1903, 1911 / Catalogue of Early German and Flemish Woodcuts in the BM, 2 vols (I.307.125) (first edition) Schoch 2001-04 / Albrecht Dürer, das druckgraphische Werk. Dürer’s depiction of the animal shaped the European image of an Indian rhinoceros right up to the mid 18th century, when another specimen arrived in Europe. Although the letterpress text atop this broadsheet suggests otherwise, he in fact copied the woodcut from a drawing and a description given by an eyewitness before the ship carrying this gift for the king of Portugal sank on the way from India. Albrecht Dürer The Rhinoceros woodcut with letterpress text, 1515, on laid paper, watermark Anchor in a Circle (M. 171), a good impression of this rare and important woodcut, first edition (of eight), with the crack in the block just beginning to show in the right hind leg, with the complete letterpress text above, with 3-5 mm. It was one of the inspirations for Salvador Dalí; a reproduction of the woodcut hung in his childhood home and he used the image in several of his works. None of these features is present in a real rhinoceros,[5][6] although the Indian rhinoceros does have deep folds in its skin that can look like armor from a distance. Melvyn Bragg and guests discuss the great German artist Albrecht Dürer (1471-1528) who achieved fame throughout Europe for the power of his images. The ruler of Gujarat, Sultan Muzafar II (1511-26) had presented it to Alfonso d'Albuquerque, the governor of Portuguese India. It lives at the Metropolitan Museum of Art in New York. He did this until until he was 15 and started training with Michael Wolgemut. Curator Susan Dackerman reveals the story behind the creation of Albrecht Dürer's famous "Rhinoceros" woodcut. Albuquerque decided to forward the gift, known by its Gujarati name of genda, and its Indian keeper, named Ocem, to King Manuel I of Portugal. [36] Images derived from it were included in naturalist texts, including Sebastian Münster's Cosmographiae (1544), Conrad Gessner's Historiae Animalium (1551), Edward Topsell's Histoire of Foure-footed Beastes (1607) and many others. ^ Some sources erroneously say 1513, copying a typographical error made by Dürer in one of his original drawings and perpetuated in his woodcut. Dürer n’a jamais observé ce rhinocéros qui était le premier individu vivant vu en Europe depuis l’époque romaine. After two years he left the apprenticeship with his father to be … It is a world in which the nations of Europe were competing not just in Europe itself but across the globe in Asia as well as the Americas. But Durer’s “Rhinoceros” is more than just the depiction of an exotic beast. It is the colour of a speckled tortoise,[28] and is almost entirely covered with thick scales. After a relatively fast voyage of 120 days, the rhinoceros was finally unloaded in Portugal, near the site where the Manueline Belém Tower was under construction. The German inscription on the woodcut, drawing largely from Pliny's account,[14] reads: On the first of May in the year 1513 AD [sic], the powerful King of Portugal, Manuel of Lisbon, brought such a living animal from India, called the rhinoceros. History. Artist: Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg) Date: 1515. Eventually, it was supplanted by more realistic drawings and paintings, particularly those of Clara the rhinoceros, who toured Europe in the 1740s and 1750s. Jean-Baptiste Oudry painted a life-size portrait of Clara the rhinoceros in 1749, and George Stubbs painted a large portrait of a rhinoceros in London around 1790. (Bedini, p.121.) His decision to issue the image as a woodcut made it accessible to many more people eager to experience something of that excitement. [41] A sculpture of a rhinoceros based on Dürer's image was placed at the base of a 70-foot (21 m) high obelisk designed by Jean Goujon and erected in front of the Church of the Sepulchre in the rue Saint-Denis in Paris in 1549 for the royal entry welcoming the arrival of the new King of France, Henry II. Albrecht Durer. Developments in printing technology meant that his “Rhinoceros” could be reproduced in much greater quantities than previously and priced to be within the reach of the less wealthy. Dürer hatte das Nashorn selbst nie gesehen. Dürer never saw the animal himself, but the woodcut he prepared became so famous that for two centuries it was the only rhinoceros Europeans ever saw. ‘Rhinoceros’ was created in 1515 by Albrecht Durer in Northern Renaissance style. Clarke, caption to colour plate I, p.181. Gilles Le Corre: 1525 Durer Initials (2010). Albrecht Dürer never saw a rhinoceros in real life. Bois) (Bartsch's Le Peintre Graveur) 75 (A History of the World in 100 Objects) 160 (Albrecht Dürer: Complete woodcuts) C. D. 125 (Catalogue of Early German and Flemish Woodcuts in the British Museum, Vol. Le Rhinocéros de Dürer est une gravure sur bois d’Albrecht Dürer datée de 1515.L’image est fondée sur une description écrite et un bref croquis par un artiste inconnu d’un rhinocéros indien (Rhinoceros unicornis) débarqué à Lisbonne plus tôt dans l’année. He made his own drawing of the animal and soon produced the woodcut that proved to be one of the most commercially successful of its time. In any event, there was not the popular sensation in Rome that the living beast had caused in Lisbon, although a rhinoceros was depicted in contemporary paintings in Rome by Giovanni da Udine and Raphael. It was regarded by Westerners as a true representation of a rhinoceros into the late 18th century. The image is based on a written description and brief sketch by an unknown artist of an Indian rhinoceros that had arrived in Lisbon in 1515.