Dürer in a storm at sea
The transparent painting Dürer im Seesturm was the fourth picture of a seven-part picture cycle that had been exhibited for a festival in honor of Albrecht Dürer's 300th anniversary of his death at the Dürer festival in Nuremberg. The German artist Ferdinand Fellner (1799–1859) provided the design for the banner . The original was destroyed during the Second World War, but there are copies made by contemporary artists.
Composition and Iconography
The horizon and the mast form a cross with Dürer's head on the central axis. The ascending diagonal (rod with canvas) divides the picture into two halves: The rear part of the picture is dominated by calm (gentle waves, city), and the vertical mast also simulates calm in the picture. In the front part of the picture everything is in turmoil, as the moving waves, the dramatic figures and the sinking boat seem to tip out of the picture at the bottom right. It is particularly noticeable that despite the storm at sea, Dürer's facial expression is shown extremely calm (compared to the other figures). In addition, Dürer holds on to the vertical mast with ease.
The work also shows a typical theme of Nazarene art: salvation through God. A Christian personification is depicted in the center of the picture in the form of Dürer. The two women with headscarves in the foreground were portrayed as Mary .
background
On December 8, 1520 Albrecht Dürer arrived in the city of Arnemuiden ( province of Zeeland ), where he stayed overnight. However, there was initially an accident. As the ship approached land, another, larger ship penetrated next to them, causing the waves to cause them great problems (hence the sea storm). According to Dürer's travel diary, six people remained on the ship during the storm, including the merchant Georg Kölzler (1471–1529), who came from an old Nuremberg bourgeois family. The course of the accident was described as follows.
“To Armuyd, when I started, a great nuisance happened to me. Do we push ashore and throw our char, there is a big ship next to us so powerfully, and what is getting out, that I pushed everyone out for me, so nobody can get out of me, Görg Köczler, two old women and him Schiffmann with a little boy stayed in the ship. When the other ship with us trung and I were still with the ship with the other vf and did not give way to accounts, the strong saihl tore apart, and so a strong storm wind came in the same, which drove our ship with chosen behind it. “- Dürer's written estate
The reactions of those named on the ship were recorded in detail by Dürer in his diary, which made it possible to compare this threat of death with others. The comparison was shown virtually in the Dürer im Seesturm banner in fifth place in the chronological order of the images at the Dürer Festival in Nuremberg in 1828.
Individual evidence
- ↑ [ https://periodika.digitale-sammlungen.de/mvgn/Blatt_bsb00079178,00291.html?prozent=1 Communications of the Association for the History of the City of Nuremberg, Vol. 95. 2008. ] Retrieved on March 9, 2020 .
- ↑ Michael Thimann, Christine Hübner (eds.): Mortal gods. 2016, p. 226 , accessed March 9, 2020 .
- ↑ Georg-August-Universität Göttingen- Public Relations: April 12th, 2015 - Etchings on Dürer by Johann Philipp Walther (1798 to 1868) - Christine Hübner, Dipl. Kulturwirtin - Georg-August-Universität Göttingen. Retrieved March 9, 2020 .
- ↑ Matthias Mende: The banners of the Nuremberg Dürer celebration of 1828. A contribution to the Dürer adoration of romanticism. In: Anzeiger des Germanisches Nationalmuseum. 1969, p. 177-209 .
- ↑ Gert Unverfecht: I saw many delicious things there. Albrecht Dürer's trip to the Netherlands. Göttingen 2007, p. 124 .
- ↑ Hans Rupprich: Dürer's written estate and its publication. In: Anzeiger des Germanisches Nationalmuseum. Nuremberg 1954, p. 163 .