{"product_id":"durer-albrecht-wolgemut-michael-e-bottega-il-settimo-giorno-della-creazione-1493","title":"DÜRER ALBRECHT, WOLGEMUT MICHAEL AND WORKSHOP, The seventh day of Creation, 1493","description":"\u003cp class=\"p1\"\u003eWoodcut (sheet dimensions cm 46 x 31.5; image dimensions cm 27 x 22.3).\u003cbr\u003eLeaf from Hartmann Schedel’s \u003cem\u003eLiber chronicarum\u003c\/em\u003e, the celebrated Nuremberg Chronicle, edition with the Latin text printed by Anton Koberger in Nuremberg in 1493. On the verso, the \u003cem\u003eCreation of Adam\u003c\/em\u003e, impression with rubricated initials.\u003cbr\u003eThe blocks for the work were made by Michael Wolgemut and Wilhelm Pleydenwurff and their workshop, where Albrecht Dürer was an apprentice between 1486 and 1489; in this leaf, only the Four Winds in the corners are attributed to him.\u003cbr\u003eExcellent condition, slight handling of the leaf in the lower left, untrimmed margins.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cstrong\u003eBibliography\u003cbr\u003e\u003c\/strong\u003eStrauss 9a\u003cbr\u003eFor the work: \u003cbr\u003eHain 14508\u003cbr\u003eGoff S-307\u003cbr\u003eGW M40784\u003cbr\u003eISTC is00307000\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cstrong\u003eCommentary\u003c\/strong\u003e\u003cbr\u003eThis is the last of the seven images of the Creation. God is seated on a throne, surrounded by angelic choirs. At the center, the heavens are represented as concentric spheres, each with its own caption, and the signs of the zodiac take the place of the fixed stars of the firmament.\u003cbr\u003eAt the four corners, the winds blow, each with its own name: Subsolanus (east), Auster (south), Aparctias (north), and Zephyrus (west).\u003cbr\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cstrong\u003eAlbrecht Dürer\u003c\/strong\u003e (Nuremberg 1471-1528), the son of a goldsmith of Hungarian origin, from whom he learned the precision of the burin, trained as a painter and woodcut artist in Michael Wolgemut’s workshop between 1486 and 1489. After his years of travel, he made two decisive stays in Venice, in 1494-1495 and 1505-1507, from which he brought back a new idea of proportion and the study of nature. He was a painter, theorist, and above all the greatest engraver of the Northern Renaissance, the artist who elevated printmaking to an unprecedented level of artistic language.\u003cbr\u003eWith the \u003cem\u003eApocalypse\u003c\/em\u003e of 1498, he brought woodcut to an expressive power never before achieved, and the same intensity can be found in the \u003cem\u003eGreat Passion\u003c\/em\u003e and the \u003cem\u003eLife of the Virgin\u003c\/em\u003e. Engraving reached its greatest perfection with him in the three celebrated Meisterstiche: \u003cem\u003eKnight, Death and the Devil\u003c\/em\u003e and \u003cem\u003eSaint Jerome in His Study\u003c\/em\u003e (1513), and \u003cem\u003eMelencolia I\u003c\/em\u003e (1514). From around 1497, he signed his prints with the monogram “AD”, present on most of the sheets, which became a recognizable signature throughout Europe and was imitated so extensively that, according to Vasari, Dürer eventually sued Marcantonio Raimondi for falsifying it.\u003c\/p\u003e","brand":"Elena Salamon - Arte Moderna","offers":[{"title":"Default Title","offer_id":54271958319451,"sku":null,"price":1100.0,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0405\/8110\/3766\/files\/DURERDesanctificationeseptimediei.jpg?v=1791458728","url":"https:\/\/www.elenasalamon.com\/en\/products\/durer-albrecht-wolgemut-michael-e-bottega-il-settimo-giorno-della-creazione-1493","provider":"Galleria Elena Salamon - Arte Moderna","version":"1.0","type":"link"}