Beyond the rhetoric and debate of one of the most allegorical moments in art, or anywhere else, for that matter, is Albrecht Durer’s meaning behind his 16th century engraving, Melancholia 1.
For over ten generations since its creation in 1514, philosophers, adepts, theorists and enthusiasts have been engaged in sophistry concerning the intent of Albrecht Durer.
Some believe Melancholia 1 concerns itself with humankind’s quest to inspirit itself, waiting for a spark no different than Archimedes “eureka” experience. Others believe it addresses our technological disability to solve the age old question “what is the meaning of life.” And that no matter how advanced our technology evolves it will never be able to answer such heady questions.
As for myself, aside from the intrinsic intricacies of the engraving, I believe Albrecht Durer knew exactly what he was doing: to evoke, at the very least, a cerebral debate that would act as the proverbial “revolving door” for future generations to come.
It is the very nature of not knowing that delights us.
Robert Burton said it best in his treatise, Anatomy of Melancholy, when he wrote:
“Tis no disparagement to be a stranger
or so irksome to be an exile,
the rain is a stranger to the earth,
rivers to the sea,
Jupiter in Egypt,
and the sun to us all.
The soul is an alien to the body,
a nightingale to the air,
a swallow
in a house,
and Ganymede in heaven,
an elephant in Rome,
a phoenix in India.
And such things commonly please us best
which are most strange and come from
farthest off.”
That, quite simply, is Melancholia 1: it comes “from farthest off”.
Durerpost 