Durer is commonly regarded as the most typically German of artists,
though his father was Hungarian, and as a matter of fact he stands
very much alone. His pictures and engravings are 'long, long thoughts.'
Every inch of the surface is weighted with meaning. His cast of mind,
indeed, was more that of a philosopher than that of an artist. In a
drawing which Durer made of himself in the looking-glass at the age
of thirteen, we see a thoughtful little face gazing out upon the world
with questioning eyes. Already the delicacy of the lines is striking,
and the hair so beautifully finished that we can anticipate the later
artist whose pictures are remarkable for so surprising a wealth of
detail. The characteristics of the Flemish School, carefulness of
workmanship and indifference to the physical beauty of the model, to
which the Italians were so sensitive, continued in his work. For
thoroughness his portraits can be compared with those of John van Eyck.
In the National Gallery his father lives again for us in a picture
of wonderful power and insight.
Durer was akin to Leonardo in the desire for more and yet more knowledge.
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