Museum purchase; Rollins Acquisition Fund
This image is provided by the Michael C. Carlos Museum of Emory University and is made available for limited non-commercial, educational, and personal use only, or for fair use as defined by United States law. For all other uses, please contact the Michael C. Carlos Museum Office of Collections Services at +1(404) 727-4282 or mccm.collections.services@emory.edu. Users must cite the author and source of the image as they would material from any printed work, but not in any way that implies endorsement of the user or the user's use of the image. Users may not remove any copyright, trademark, or other proprietary notices, including without limitation attribution information, credits, and copyright notices that have been placed on or near the image by the Museum. The Museum assumes no responsibility for royalties or fees claimed by the artist or third parties. The User agrees to indemnify and hold harmless Emory University, its Michael C. Carlos Museum, its agents, employees, faculty members, students and trustees from and against any and all claims, losses, actions, damages, expenses, and all other liabilities, including but not limited to attorney’s fees, directly or indirectly arising out of or resulting from its use of photographic images for which permission is granted hereunder.
Lent by the Pitts Theology Library, Candler School of Theology
Image courtesy of the Pitts Theology Library, Candler School of Theology, Emory Universtiy
Christ Appearing to His Disciples (Doubting Thomas)
Metropolitan Museum of Art, Gift of Junius Spencer Morgan, 1919
Image courtesy of the Metropolitan Museum of Art
Metropolitan Museum of Art, Fletcher Fund, 1919
Albrecht Durer was the greatest and most innovative printmaker of the Renaissance. A native of Nuremberg, Germany, he had established an international reputation by the beginning of the sixteenth century with the publication of three woodcut series, including the Life of the Virgin. In Durer's hands the woodcut came to rival the technique of engraving in its subtle modeling and intricate detail. The narrative sophistication of his prints repaid extended contemplation on the part of the viewer, and his work was avidly collected by connoisseurs and widely copied by contemporary artists.
Michael C. Carlos Museum, Emory University
© Michael C. Carlos Museum, Emory University. Photo by Bruce M. White, 2008.
This image is provided by the Michael C. Carlos Museum of Emory University, who retains all rights in it. This image is made available for limited non-commercial, educational, and personal use only, or for fair use as defined by United States law. For all other uses, please contact the Michael C. Carlos Museum Office of Collections Services at +1(404) 727-4282 or mccm.collections.services@emory.edu. Users must cite the author and source of the image as they would material from any printed work, but not in any way that implies endorsement of the user or the user's use of the image. Users may not remove any copyright, trademark, or other proprietary notices, including without limitation attribution information, credits, and copyright notices that have been placed on or near the image by the Museum. The Museum assumes no responsibility for royalties or fees claimed by the artist or third parties. The User agrees to indemnify and hold harmless Emory University, its Michael C. Carlos Museum, its agents, employees, faculty members, students and trustees from and against any and all claims, losses, actions, damages, expenses, and all other liabilities, including but not limited to attorney’s fees, directly or indirectly arising out of or resulting from its use of photographic images for which permission is granted hereunder.
Prints by Albrecht Durer, Santa Barbara Museum of Art, Santa Barbara, California, May 1-May 25, 1958| Woodcuts by Albrecht Durer: An Exhibition of Print Connoisseurship, Emory University Museum of Art and Archaeology, April 8 - June 7, 1986| Invention and Revival: Northern European Prints, Michael C. Carlos Museum, February 12 - May 15, 2005
John Howett, Woodcuts by Albrecht Durer: An Exhibition of Print Connoisseurship (Atlanta: Emory University Museum of Art and Archaeology, 1986), 51.
Albrecht Durer was the greatest and most innovative printmaker of the Renaissance. A native of Nuremberg, Germany, he had established an international reputation by the beginning of the 16th Century with the publication of three woodcut series, including the Life of the Virgin. In Durer's hands the woodcut came to rival the technique of engraving in its subtle modeling and intricate detail. The narrative sophistication of his prints repaid extended contemplation on the part of the viewer, and his work was avidly collected by connoisseurs and widely copied by contemporary artists.
Prints by Albrecht Durer, Santa Barbara Museum of Art, Santa Barbara, California, May 1 - May 25, 1958| Woodcuts by Albrecht Durer: An Exhibition of Print Connoisseurship, Emory University Museum of Art and Archaeology, April 8 - June 7, 1986| Old Master Works on Paper from the Permanent Collection, Michael C. Carlos Museum, May 11 - August 22, 1993| Invention and Revival: Northern European Prints, Michael C. Carlos Museum, February 12 - May 15, 2005
John Howett, Woodcuts by Albrecht Durer: An Exhibition of Print Connoisseurship (Atlanta: The Museum, 1986), 52.
In this engraving Durer introduced the values of the Italian Renaissance to northern Europe. The print was much admired in his time and was to be a model for other artists for generations. In 1494-95 as a precocious young artist Durer traveled from his native Nuremberg to Italy, where he encountered the intellectual and artistic currents of the Renaissance, including the interest in newly discovered works of ancient sculpture. Thus, in this engraving, when he portrayed the first human beings created, he chose to model them with the perfection of the classical nude. Adam and Eve are portrayed with the proportions and contrapposto stance of two renowned antique statues, the Apollo Belvedere and a type of the Capitoline Venus. The idealized human figures, based on works of art, stand in contrast to the careful observation of nature found in his depiction of the animals. Despite their naturalism the animals also embody symbolic meaning. Four of the animals surrounding Eve were associated with the four humors or temperaments: the cat is choleric, the rabbit sanguine, the ox phlegmatic, the elk melancholic. According to medieval tradition the Fall of Man upset the original equilibrium of the humors and afflicted the human race with imbalanced temperaments.
© Michael C. Carlos Museum, Emory University. Photo by Michael McKelvey.
Renaissance to Contemporary: Recent Acquisitions in Works on Paper, Michael C. Carlos Museum, February 10 - May 27, 2007| God Spoke the Earth: Stories of Genesis in Prints and Drawings, Michael C. Carlos Museum, September 13 - December 7, 2014
This is the last in a series of ten devotional images of the Virgin and Child that Durer engraved over a period of more than twenty years. This is the only one, however, that portrays a sleeping child. Depictions of the infant Jesus asleep in his mother's lap are prefigurations of his Passion. Just as the sleeping child will awake, so will Christ rise again from the dead after his Crucifixion. The swaddling clothes also prefigure the funeral shroud. In addition, the corporal, the altar cloth on which the Host symbolizing Christ's body was placed during the celebration of Holy Eucharist, was interpreted as a symbol of both swaddling and shroud.
Renaissance to Contemporary: Recent Acquisitions in Works on Paper, Michael C. Carlos Museum, February 10 - May 27, 2007
Albrecht Durer was the greatest and most innovative printmaker of the Renaissance. A native of Nuremberg, Germany, he had established an international reputation by the beginning of the sixteenth century with the publication of the woodcut series, the Apocalypse. In Durer's hands the woodcut came to rival the technique of engraving with its subtle modeling and intricate detail, and he was able to achieve even greater refinement in his engravings. These three engravings belong to the series of fourteen that make up the Engraved Passion. Unlike Durer's two woodcut versions of Christ's Passion, these engravings were not accompanied by devotional text. This, together with the complex detail of the prints, suggests that the series was intended for art collectors interested in aesthetic contemplation as much as in religious meaning. The significance of each scene is only fully revealed in studying the image for an extended period of time. It was this narrative sophistication, combined with his skillful manipulation of light and shadow, that made Durer's engravings highly desirable to connoisseurs and widely copied by his contemporaries and successors.
Anonymous gift in honor of Dr. John Howett
Old Masters: Highlights of the Works on Paper Collection, Michael C. Carlos Museum, August 15 - December 6, 2009
MCCM Newsletter, September - November, 2009.