Dürer's wedding
Dürer's wedding is the name of the second transparency that came from a cycle about the life of Albrecht Dürer , which was exhibited on the occasion of the celebrations of the 300th anniversary of his death on April 6, 1828 in the hall of the Nuremberg town hall . The works were completed by artists from Munich a week before the festival. The original banners were lost after 1911; however, re-engravings and copies were made. Most of the copies were made by the Nuremberg graphic artist Johann Philipp Walther (1798–1868).
The banner
The first drawing after Wilhelm Kaulbach had the title text:
“And when I came home after Pentecost in 1494, Hans Frei traded with my father and gave me his daughter by the name of Jungfra Agnes. He gave me 200 gulden with her and held the wedding; it was on the Monday before Margarethe in 1494. "
Agnes Frey and Albrecht Dürer stand in front of the altar and are just entering into the alliance of marriage. A priest stands between them and puts a ribbon around their hands while Dürer puts the ring on his wife. Behind Dürer stands his father Dürer the Elder and puts his hand on his shoulder. The other people behind Dürer are not clearly recognizable, on Agnes' side only her mother, who stands behind her, can be clearly seen.
In contrast to Walther's engraving, on which the people behind the couple can be clearly seen and the architecture in the picture has been given more space towards the top, the groups of people were reduced to the parents of both parties, so that the wedding scene takes up more space. Angels carry the candlesticks in the lurch, and the glow illuminates a cross above the priest's head. Walther no longer has the coats of arms of the two families. It is believed that the attitude of Dürer and Agne's mother, praying hands, should indicate a childless marriage.
This work bears the caption:
- Dürer's marriage to Agnes Frey
- The Monday before Magareth's Day in 1494
- Festival painting at the 3rd Secular celebration on the day of A. Dürer's death on April 8, 1828
Matthias Mende explains in his text "The banners of the Nuremberg Dürer celebration of 1828" that Walther's composition refers to Raphael's Sposalizio from 1504. The scene that Raffael depicts is the “ringing on” of Joseph and Maria, just like in the pictures by Walther and von Kaulbach . The image type of the Marriage of the Virgin Mary with this composition was often imitated after the works of Raphael and Perugino . Mende is of the opinion that Kaulbach could have seen this type of picture before in an engraving by Giuseppe Longhi or a replica by Pistrucci . The ring that Joseph Maria puts on is the so-called Holy Ring , which is kept as a relic in Perugia Cathedral .
literature
- Matthias Mende: The banners of the Nuremberg Dürer celebration of 1828: A contribution to the Dürer adoration of romanticism . Ed .: Erich Steingräber, Peter Bloch. Nuremberg 1969.
- Michael Thimann, Christine Huebner (eds.): Mortal gods: Raffael and Dürer in the art of German romanticism . Petersberg 2015.
- Jorg Träger: Renaissance and Religion. The Art of Faith in the Age of Raphael . Ed .: Beck. Munich 1997.
Web links
- Gerd Reichardt: Dürer and Raffael as artist role models in the 19th century Horizons, Issue 1, 2016, accessed on February 13, 2020
Individual evidence
- ^ Announcements of the Association for the History of the City of Nuremberg, Vol. 95. 2008. Accessed on March 9, 2020 .
- ^ Albrecht Dürer's secular feyer in Nuremberg. In: Art Journal No. 34 of April 28, 1828. Retrieved January 31, 2019 .
- ↑ Michael Thimann, Christine Huebner (ed.): Mortal gods: Raffael and Dürer in the art of German romanticism . Imhof, Petersberg 2015, ISBN 978-3-7319-0198-3 , p. 242 .
- ^ A b Matthias Mende: The banners of the Nuremberg Dürer celebration of 1828, A contribution to the adoration of Dürer in Romanticism . Ed .: Erich Steingräber, Peter Bloch. Nuremberg 1969, p. 183 .