Olympian Moments in Art

Every four years, the globe celebrates the boundaries that divide it into countries by uniting as one spirit  to glorify the collective we call the human race. It is a marvelous and captivating time which has most of us spectators glued to some form of medium to share this message of unity.

To be honest, it is all about triumph: where winning is the measurement of device: the fastest are measured in milliseconds; perfection is measured by decimal points; the strongest are measured in milligrams; distance is measured by millimeters; and, splash is measured in milliliters.

Victory is determined in fractions. Execution is calculated in years.

These athletes spend their entire lives preparing for the game, the routine, the race, the lift, the shot, the dive. Every waking moment, whether physically, psychologically, or mentally they are preparing, practicing, pondering, dreaming, imagining that they are standing on the top of the podium in the throne of the gods.

It is hard not to be caught up in their dominion. Even as a spectator we feel a part of their achievement.

Olympian moments in art are no different, although most certainly, not the same.

Years upon years might be dedicated to a cycle, a suite, a series and even the documentation or catalogue raisonne to an artist’s particular oeuvre.

March Chagall dedicated a total of twenty five years working on the one hundred five etchings of the Bible Series. Although his dedication was at times intermittent, a quarter of a century was dedicated to the Bible, which Chagall felt was, “the finest piece of poetry every written“.

In fact, Meyer Schapiro, the great art historian said, “If we had nothing of Chagall but his Bible, he would be for us a great modern artist.”

Pablo Picasso, as an octogenarian, completed the three hundred forty seven etching of the 347 Series in a mere seven months. From March 16th to October 5th of 1968, just five years before his death, Picasso displayed his technical grasp in the medium of etching by averaging almost thirteen etchings per week!

The great Dutch artist, Rembrandt, took almost seven years to complete his (greatest) drypoint etching, Christ Healing the Sick also known as The Hundred Guilder, which he completed in 1649.

Christopher White, who wrote a consummate two volume catalogue raisonne on Rembrandt,  Rembrandt’s Etchings. An Illustrated Critical Catalogue said this etching was the “apotheosis of Rembrandt’s activity in etching…”

Albrecht Durer, the progenitor of graphic art in Western civilization started the sixteen woodcuts of the Apocalypse series during his first bachelor journey to Italy in 1494-5 and published them a mere three years later in 1498 (at the tender age of twenty seven).

Adam von Bartsch, curator of the Albertina in Vienna worked tirelessly until his death and spent his last eighteen years to complete his catalogue raisonne of the Italian and Northern school of engraver-painters in no less than twenty-one volumes.

Daniel Wildenstein spent over thirty years compiling his four volume opus of Claude Monet’s oeuvre of original work.

Christian and Yvonne Zervos began cataloguing Picasso’s unique work in 1932 and it was finished posthumously in 1970. The catalogue raisonne encompasses thirty-three volumes.

Frits Lugt is but another Olympian. He not only compiled a catalogue raisonne dedicated to collector’s stamps throughout history (1921) he also worked on a supplement to his original work which he published in 1956. In total, this man spent fifty-seven years of his life dedicated to researching collectors’ stamps throughout history.

The same heart and dedication is shared whether one is an athlete, artist or scholar; because, what they have is immeasurable. They all deserve to exist on the throne of the gods.

Art history is no different. It is full of Olympian moments.

Albrecht Durer: A Legacy Earned

The significance and contribution of Albrecht Durer to the art community is not only amazing but also a source of wonder as to how understated it is. Yet, he was not only collected by enthusiasts but artists, and he was imitated as well.

His woodcuts and engravings were collected from the Mediterranean to the North Sea. They were in the hands of such artists as Italian Renaissance masters as Raphael, Montegna, and Bellini.

Albrecht Durer’s print oeuvre was found in the collections of such dignitaries as Henry VIII of England, King Christian II of Scandinavia, Emperor Maximillian I (of course), Princess Margaret, Regent of the Netherlands, Maximilian’s grandson Charles V, and even the son of Christopher Columbus, Ferdinand.

Raphael’s own masterpiece, Christ Bearing the Cross (c. 1516) borrowed the figure of Christ from Albrecht Durer’s woodcut, Christ Bearing the Cross (1509) from the Small Passion.

Tintoretto, the great Italian Mannerist of the Venetian school, mirrored the Holy Father holding the body of Christ in the Lamentation (c. 1560).

Its source came from Albrecht Durer’s woodcut, Trinity (1511).

El Greco, the Spanish Mannerist also borrowed from Durer’s Trinity, absorbing outlines and content in his work, The Throne of Grace (1577).

Even Rembrandt, the great Dutch painter and printmaker echoed the figure of Christ in his etching, Christ Driving the Money Changers from the Temple (1638).

Its design came from the Albrecht Durer woodcut (of the same name) from the Small Passion (1509-1511).

Impressive enough; however, one of Albrecht Durer’s most incredible legacies involves the Italian Renaissance master, Michelangelo,  who reportedly told Charles V in a conversation that if he were not Michelangelo he would rather be Albrecht Durer than the Emperor.

Quite a tribute to Albrecht Durer: a legacy earned.

The Genius of Originality

Sigmund Freud once said that, “…artistic talent is still a psychological riddle”.

I have often thought about what it is that differentiates a master from an artist: those individuals who are written into history as an experience and not just a by-product of it.

I believe that talent is not a mark of genius or creativity; nor,  is creativity a mark of talent or genius; nor, do I think that genius is a mark of creativity or talent. (Sorry for the lesson in Boolean algebra.)

Creativity, genius and talent are all a mark of originality. And originality is a discipline to a style that
inherently becomes one’s own.

Originality becomes a recognizable trademark of the master so even if we, the audience, have never seen this particular piece of art before, we are still able to identify it with that particular artist.

A woodcut or engraving by Albrecht Durer is identifiable by his use of eliptical-linear lines adding a three dimensional aspect and his off-center perspective (the golden section). Although accomplished, both  Schongauer and Goltzius are different in appearance.

The etchings and drypoints of Rembrandt are unmistakeable because of his impossibly-rich burr and meticulous use of cross-hatching which enhanced his use of chiarscuro. Whether the print is a Biblical scene, a portrait, a landscape, an allegory or any other genre, his print oevure is distinct.

Miro employed his playful use of his biomorphs.

Chagall had his reocurring motifs of floating lovers, farm animals with human eyes, fiddlers on roofs.

Picasso utilized his multi-dimensional perspective of cubism.

Goya wielded his burin in satirical renderings of the elite.

These artists distinguished themselves by their brilliance which is not a measure of watts but wit. They have separated themselves not just because they are remembered over time, but in tomes.

These artists have distinguished themselves by being original.

That is the genius of their art!

Why Durerpost Products?

I would like to think that the value of Durerpost products and information are self-evident; and they will, eventually promote themselves. But until then, forgive me for giving them a little impetus forward.

Recently at auction (March, to be exact), an Albrecht Durer woodcut, the Annunciation (M. 195, B. 83) from one of his great woodcut cycles,  the Life of a Virgin, was sold at auction for just under $11,000. It was sold as a proof impression before the Latin Text Edition of 1511 with a High Crown watermark (M. 20).

The catalogue raisonne of choice when dealing with Albrecht Durer woodcuts is Joseph Meder’s, Durer-Katalog ein Handbuch Uber Albrecht Durers Stiche, Radierungen, Holzschnitte, Deren Zustande, Ausgaben und Wasserzeichen.

It is a brilliant compilation. Worthy of any collector who collects Albrecht Durer woodcuts and intaglios. It sells for around $100 and can be bought from any of the major rare book house.

It is written, however,  in academic German, which is why Durerpost offers the documentation of Albrecht Durer’s great woodcut cycles in English-translated versions of his catalogue raisonne.

In other words, you can read this: “Prachtvoll, klar, ohne Große Gegensätze, weil ohne Kreuzlage. Unterrand eine Lücke, ebenso im Bergontur zwischen den Flügeln. Vor den weißen Kritzeln in deer untersten Türschwellschattierung (Blasius, Braunschweig). Wz. 62 Ochsenkopf oder 20 Hohe Krone.”

Or, you can read it in English as this: “Magnificent, clear, without large contrasts, because without crosshatching. Bottom edge a gap, likewise mountain contour between the wings. Before the white scribble in the lowest threshold (bottom door sill) shading (Blasius, Braunschweig). Ox Head with Five Petal Flower, Triangle and Two Cross Lines with Single Long Flower Stalk watermark (M. 62) dating the paper from 1441 to 1481(?) — 1519; or, High Crown watermark (M. 20) dating paper from 1480-1525.”

In April of this year, at another major auction house, another Albrecht Durer woodcut, The Whore of Babylon (M. 177, B. 73), from his great woodcut cycle, the Apocalypse, was sold at auction for $34,000.  The high estimate was set at $18,000! It was sold as a proof impression before the German or Latin text edition of 1498. But with this woodcut, it did not have a watermark.

How do you know it was not a later impression without text? Simply, by knowing what the documentation says about this particular impression and examining the art.

In this example, the German reads, “Kräftig, schwarz, auch überschwärzt, ganzrandig bis auf das r. untere eck, Drachenhals- und Mühlsteinlücken beginnend”. Wz. 53 Reichsapfel.

In English the catalogue raisonne reads, “Strong (rich), dark, also overly dark, complete edges to right lower corner, dragon neck (throat) and millstone gaps beginning. Large Imperial Orb with Cross and Star watermark (M. 53) dating the paper from 1497-1520.”

With all due respect, there is some serious money being spent on some historic prints and, you deserve to know what you are buying.

Hundreds of hours have been spent translating Joseph Meder’s definitive research of Albrecht Durer’s print oeuvre into English, and we are proud to disseminate this information as well as share the importance of the artist’s work itself.

So, to answer the title question, why Durerpost products? We hope that the benefits are apparent.

Why the Name Durerpost?

I just finished reading Dan Brown’s latest, The Lost Symbol, and aside from being enthralled with it message, I was also thrilled that he weaved Albrecht Durer’s, Melancholia 1, and his actual monogram into the theme of the book.

Aside from this partiality, he is right, you know. Somewhere along the line of our exponential technological growth we have lost something.

I have been told that there are children who actually cannot read the hands of a wall clock unless it is digital. To be honest, I do not know whether this is urban legend or not. Since I am not the breeding type I am unsure whether to believe this as fiction or fact; however, it would not surprise me.

Aside from the plot of the book, Mr. Brown comments that until the advent of our very recent technology, adepts thoughout the ages used at best, paper, quill, maybe an abacus and most importantly, their minds. Individuals like Newton, Bacon, Copernicus, Galileo, Cavendish, Bohr and even Einstein were able to extrapolate far beyond my comprehension of mathematics and deductive reasoning, theories and abstractions which we hold true today.

One such adept who died over a century before Galileo wrote his treatise on heliocentricity, Dialogo sopra i due massimi sistemi del mondo, changing humankind’s view of our universe forever – was the first in Western art to be artist and publisher of his own work. His name was Albrecht Durer; and, he became the first to take his art to market and free himself from the lucrative but restricting shackles of commission work.

In essence, Albrecht Durer became the first graphic artist and changed the landscape of art for all those who followed in his artistic path. He changed the climate of art forever over five hundred years ago with his print oeuvre of woodcuts and intaglios.

That is how and why Durerpost inherited its name. Quite simply, he earned it.

And this, of course, is the bottom line.