‘Holy Things:’ Dürer’s ‘Feast of the Rosary’ in the Rudolfine Court

Miranda Lee Elston

Abstract


Rudolf II passionate appetite for works by celebrated German artist Albrecht Dürer’s led to an aggressive campaign to acquire original works and promote his court artists to create imitations of Dürer’s works. This paper explores the question of how and why Emperor Rudolf set about collecting works of art by Dürer that were originally intended for a religious devotional context and in what ways did his interest in Dürer’s religious works connect to representations of Rudolf’s cultural and imperial legacy. By examining Dürer’s Feast of the Rosary (1506), this paper will consider the ways in which Dürer’s legacy and German heritage became interwoven with changing perceptive of the status of the art object which centered Dürer’s artworks as an allegorical representation of himself and his heritage. Furthermore, within the Rudolfine court, Dürer’s altarpieces functioned as representations of Rudolf’s cultural legacy through the appropriation of religious images of his imperial claim and past heritage. Through the shifting veneration of the artist, a new material culture of Empire was established through the collecting habits of the Rudolfine Court.


Keywords


Rudolf II; Dürer; Empire; Collecting

Full Text:

PDF

References


Figures:

Figure 1. Albrecht Dürer, Adoration of the Magi, 1504. 99 × 113.5 cm. Oil on wood. Uffizi Gallery, Florence.

Figure 2. Albrecht Dürer, Feast of the Rosary, 1506. 162 x 192 cm. Oil on poplar wood. Sternberg Palace collection, National Gallery, Prague.

Figure 3. Lukas Kilian, Albrecht Dürer, 1608. 33.7 x 19.8 cm. Yale University Art Gallery, New Haven.

Figure 4. Lukas Kilian, Alberti Dureri Noribergensis, Pictorum Germaniae Principis effigies genuina duplex (Double Portrait of Dürer), c.1628. 38 x 26.4 cm. Engraving. London, British Museum, no. E,2.105 (CC BY-NC-SA 4.0).

Figure 5. Aegidius Sadeler II, Head of an Angel (Series: Heads After Dürer), 1598. Engraving, 35.8 x 22.4 cm. London, British Museum, no. 1845,0809.607 (CC BY-NC-SA 4.0).

Bibliography:

Bailey, Martin. Dürer. London: Phaidon Press, 1995.

Bartrum, Giulia ed. Albrecht Dürer and his Legacy: The Graphic Work of a Renaissance Artist. London: British Museum, 2002.

Benjamin, Walter. ‘The Work of Art in the Age of Mechanical Reproduction,’ in Illuminations. Edited by Hannah Arendt. New York: Harcourt, Brace & World, 1968.

Białostocki, Jan. Dürer and His Critics, 1500-1971: Chapters in the History of Ideas, Including a Collection of Texts. Baden-Baden: V. Koerner, 1986.

Bubenik, Andrea. Reframing Albrecht Dürer: The Appropriation of Art, 1528-1700. Burlington: Ashgate, 2013.

Campbell, Mungo. The Stylish Image: Printmakers to the Court of Rudolf II. Edinburgh: Trustees of the National Galleries of Scotland, 1991.

DaCosta Kaufmann, Thomas. Court, Cloister, and City: the Art and Culture of Central Europe, 1450-1800. Chicago: University of Chicago Press, 1995.

——— Mastery of Nature: Aspects of Art, Science, and Humanism in the Renaissance. Princeton: Princeton University Press, 1993.

——— The Eloquent Artist: Essays on Art, Art Theory and Architecture, Sixteenth to Nineteenth Century. London: Pindar, 2004.

——— The School of Prague : Painting at the Court of Rudolf II. Chicago: University of Chicago Press, 1988.

Dürer, Albrecht. Dürer’s Record of Journeys to Venice and the Low Countries. Edited by Roger Fry. London: Dover Publications, 1995.

Eichberger, Dagmar. Dürer and His Culture. Cambridge, U.K. ;New York: Cambridge University Press, 1998.

Fučíková, Eliška ed. Rudolf II and Prague: The Court and The City. London: Thames and Hudson, 1997.

Hirakawa, Kayo. The Pictorialization of Durer's Drawings in Northern Europe in the Sixteenth and Seventeenth Centuries. Bern: Peter Lang, 2009.

Koerner, Joseph Leo. Moment of Self-Portraiture in German Renaissance Art. Chicago: University of Chicago Press, 1993.

Koreny, Fritz. Albrecht Dürer and the Animal and Plant Studies of the Renaissance. Boston: Little, Brown, 1988.

Kotková, Olga ed. Albrecht Dürer: The Feast of the Rose Garlands, 1506-2006, exhibition cataloge. Prague: Národní Galerie, 2006.

Mander, Karel van. The Lives of the Illustrious Netherlandish and German Painters: Preceded by the Lineage, Circumstances and Place of Birth, Life and Works of Karel Van Mander, Painter and Poet and Likewise His Death and Burial. Edited by and Hessel Miedema. Doornspijk: Davaco, 1995.

Panofsky, Erwin. The Life and Art of Albrecht Dürer. Princeton: Princeton University Press, 1971.

Pilaski, Katharina. ‘The Munich Kunstkammer: Art, Nature, and the Representation of Knowledge in Courtly Context’ PhD Diss., University of California, Santa Barbara, 2007.

Price, David. Albrecht Dürer’s Renaissance: Humanism, Reformation, and the Art of Faith. Ann Arbor: University of Michigan Press, 2003.

Quiccheberg, Samuel. The First Treatise on Museums: Samuel Quiccheberg’s Inscriptiones, 1565. Translated by Mark A. Meadow and Bruce Roberts. Lost Angeles: Getty Research Institute, 2013.

Robison, Andrew, and Klaus Albrecht Schröder edited. Albrecht Dürer: Master Drawings, Watercolors, and Prints from the Albertina. New York: Delmonico Books for the National Gallery of Art, Washington D.C., 2013.

Silver, Larry, and Jeffrey Chipps Smith ed. The Essential Dürer. Philadelphia: University of Pennsylvania Press, 2010.


Refbacks

  • There are currently no refbacks.


All articles and reviews published by Ceræ: An Australasian Journal of Medieval and Early Modern Studies are published under a CC BY-NC-ND license, unless otherwise specified.