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[26][27] Dürer's mother died on May 17, 1514;[28] some interpreters connect the digits of this date with the sets of two squares that sum to 5 and 17. Addressing its apparent symbolism, he said, "to show that such [afflicted] minds commonly grasp everything and how they are frequently carried away into absurdities, [Dürer] reared up in front of her a ladder into the clouds, while the ascent by means of rungs is ... impeded by a square block of stone. The objects she has at hand are associated with geometry and measurement, fields of knowledge that were considered the building blocks of artistic creation and that Dürer studied doggedly in his quest to theorize absolute beauty. Merback, 47–48 (Merback's summary of Schuster quoted), "Albrecht Dürer, Knight, Death and the Devil, a copperplate engraving", Dürers "Melencolia I": eine quellen- und typengeschichtliche Untersuchung, "The magic square on the Passion façade: keys to understanding it", Joachim and Anne Meeting at the Golden Gate, Portrait of the Artist's Mother at the Age of 63, https://en.wikipedia.org/w/index.php?title=Melencolia_I&oldid=990042168, All articles with links needing disambiguation, Articles with links needing disambiguation from August 2020, Creative Commons Attribution-ShareAlike License, This page was last edited on 22 November 2020, at 13:26. Albrecht Dürer, Melencolia I, 1514, engraving, 24.45 x 19.37 cm (Minneapolis Institute of Art). The National Gallery of Art and Sculpture Garden are temporarily closed. [54] Dürer's friendships with humanists enlivened and advanced his artistic projects, building in him the "self-conception of an artist with the power to heal". La célèbre gravure, souvent reproduite, a été exécutée en 1514 : la date figure dans les deux cases centrales de la dernière ligne du carré magique placé en haut et à droite de la gravure, au-dessous de la cloche. Each temperament was also associated with one of the four elements; melancholia was paired with Earth, and was considered "dry and cold" in alchemy. [32], In contrast with Saint Jerome in His Study, which has a strong sense of linear perspective and an obvious source of light, Melencolia I is disorderly and lacks a "visual center". The new emperor renewed the pension Dürer had been granted by Maximilian I. [19] To the left of the emaciated, sleeping dog is a censer, or an inkwell with a strap connecting a pen holder. Iván Fenyő considered the print a representation of an artist beset by a loss of confidence, saying: "shortly before [Dürer] drew Melancholy, he wrote: 'what is beautiful I do not know' ... Melancholy is a lyric confession, the self-conscious introspection of the Renaissance artist, unprecedented in northern art. Simultaneously inviting and resisting interpretation, Melencolia I is a testament to Dürer’s extraordinary intellectual ambition and artistic imagination. ALBRECHT DÜRER. But what Dürer intended by the term, and how the print’s mysterious figures and perplexing objects contribute to its meaning, continue to be debated. Albrecht Dürer (1471–1528), one of the greatest of all German artists, was a painter, printmaker, draftsman, and theoretician. Seemingly immobilized by gloom, she pays no attention to the many objects around her. Le titre est pris de l'œuvre où il apparaît comme un élément de la composition. [46] Before the Renaissance, melancholics were portrayed as embodying the vice of acedia, meaning spiritual sloth. The lie is in our understanding, and darkness is so firmly entrenched in our mind that even our groping will fail. 1, 171. Dürer's engraving is one of the most well-known extant old master prints, but, despite a vast art-historical literature, it has resisted any definitive interpretation. Doorly found textual support for elements of Melencolia I in Plato's Hippias Major, a dialog about what constitutes the beautiful, and other works that Dürer would have read in conjunction with his belief that beauty and geometry, or measurement, were related. He also rigorously studied intellectual concepts central to the Renaissance: perspective, absolute beauty, proportion, and harmony. ), 1943.3.3522. Clevelandart 1926.211.jpg 2,693 × 3,400; 7.68 MB Albrecht Dürer’s enigmatic Melencolia I has inspired and provoked viewers for nearly half a millennium. Closed, Sculpture Garden Le mystère qui l'entoure ne se dissipe pas complètement avec la récente résolution de ses mathématiques par Hans Weitzel (2004), car la définition Therefore what is useless in a man, is not beautiful." 6th St and Constitution Ave NW Lucas Cranach the Elder used its motifs in numerous paintings between 1528 and 1533. Giehlow found the print an "erudite summa of these interests, a comprehensive portrayal of the melancholic temperament, its positive and negative values held in perfect balance, its potential for 'genius' suspended between divine inspiration and dark madness". Erwin Panofsky is right in considering this admirable plate the spiritual self-portrait of Dürer."[50]. The square follows the traditional rules of magic squares: each of its rows, columns, and diagonals adds to the same number, 34. Dürer may have associated melancholia with creative activity;[2] the woman may be a representation of a Muse, awaiting inspiration but fearful that it will not return. [6], Agrippa defined three types of melancholic genius in his De occulta philosophia. « Melencolia I », Albrecht Dürer (gravure sur cuivre, 1514) L’œuvre Melencolia , I, de Dürer met en œuvre un ensemble de symboles et de thèmes typiques de la Renaissance. [33], Dürer's friend and first biographer Joachim Camerarius wrote the earliest account of the engraving in 1541. A magic square is inscribed on one wall; the digits in each row, column, and diagonal add up to 34. Other objects relate to alchemy, geometry or numerology. Durer didn't leave us any written explanations about his intended meaning in Melencolia I. [15], Panofsky considered but rejected the suggestion that the "I" in the title might indicate that Dürer had planned three other engravings on the four temperaments. This assumption has been challenged, such as by Hoffman, summarized in Merback, 43. A few years earlier, the Viennese art historian Karl Giehlow had published two articles that laid the groundwork for Panofsky's extensive study of the print. [60] Dürer's Melencolia is the patroness of the City of Dreadful Night in the final canto of James Thomson's poem of that name. Melencolia dans l’œuvre de Dürer. Introduction Considérée toujours comme une œuvre programme, la gravure en cuivre La Melencolia I (1514), contient une somme considérable de principes philosophiques de l'humanisme européen. [52] In the 1980s, scholars began to focus on the inherent contradictions of the print, finding a mismatch between "intention and result" in the interpretive effort it seemingly required. Hers is the inertia of a being which renounces what it could reach because it cannot reach for what it longs. The other two are Knight, Death, and the Devil and Saint Jerome in His Study. From ancient Greek times through the Middle Ages, melancholy was considered the least desirable of the four humors that were believed to govern human temperament. He died in 1528. Albrecht Dürer’s enigmatic Melencolia I has inspired and provoked viewers for nearly half a millennium. After his return he focused mainly on portraits and small engravings. De gravure is een allegorische compositie , die veelvuldig het onderwerp is geweest van kunsthistorische besprekingen. The square is rotated and one number in each row and column is reduced by one so the rows and columns add up to 33 instead of the standard 34 for a 4x4 magic square. [34] The work otherwise scarcely has any strong lines. Based on research generously provided by Thomas E. Rassieur at the Minneapolis Institute of Art, and narrated by Dr. Naraelle Hohensee In an unfinished book for young artists, he cautions that too much exertion may lead one to "fall under the hand of melancholy". [11] Reflecting the medieval iconographical depiction of melancholy, she rests her head on a closed fist. Dürer was exposed to a variety of literature that may have influenced the engraving by his friend and collaborator, the humanist Willibald Pirckheimer, who also translated from Greek. Cette gravure contient une multitude d'éléments symboliques en rapport avec les mathématiques. Dürer's Melencolia I is one of three large prints of 1513 and 1514 known as his Meisterstiche (master engravings). Panofsky examined earlier personifications of geometry and found much similarity between Dürer's engraving and an allegory of geometry from Gregor Reisch's Margarita philosophica, a popular encyclopedia. Dürer était doué d’un esprit très ouvert, curieux de tout. Perhaps the most prevalent analysis suggests the engraving represents the melancholy of the creative artist, and that it is a spiritual self-portrait of Dürer himself. Dürer’s take on artists’ melancholy may have been influenced by Heinrich Cornelius Agrippa’s De Occulta Philosophia, a tract popular in Renaissance humanist circles. Despite having recently converted to Lutheranism, he attended the coronation of the ultra-Catholic Emperor Charles V in Aachen. Melencolia I ou La Melencolia est le nom donné à une gravure sur cuivre d'Albrecht Dürer datée de 1514.Le titre est pris de l'œuvre où il apparaît comme un élément de la composition. Khan Academy is a 501(c)(3) nonprofit organization. Or, cette époque est remarquable par un certain syncrétisme qui rassemble des éléments venus de la chrétienté et des éléments venus de l’Antiquité gréco-romaine. "[35] Later, the 16th-century art historian Giorgio Vasari described Melencolia I as a technical achievement that "puts the whole world in awe".[36]. The art historian Erwin Panofsky, whose writing on the print has received the most attention, detailed its possible relation to Renaissance humanists' conception of melancholia. The sky contains a rainbow, a comet or planet, and a bat-like creature bearing the text that has become the print's title. (Fig. Though it is not certain that Dürer conceived of the three prints as a set, they are similar in style, size, and complexity, and represent the pinnacle of Dürer’s practice as an engraver. The magic square is a talisman of Jupiter, an auspicious planet that fends off melancholy—different square sizes were associated with different planets, with the 4×4 square representing Jupiter. Melencolia I ou La Melencolia est le nom donné à une gravure sur cuivre d'Albrecht Dürer datée de 1514. "[61], The print attracted nineteenth-century Romantic artists; self-portrait drawings by Henry Fuseli and Caspar David Friedrich show their interest in capturing the mood of the Melencolia figure, as does Friedrich's The Woman with the Spider's Web. Their technical virtuosity, intellectual scope, and psychological depth were unmatched by earlier printed work. Melencolia - Dürer. In the engraving, symbols of geometry, measurement, and trades are numerous: the compass, the scale, the hammer and nails, the plane and saw, the sphere and the unusual polyhedron. "[49], Autobiography runs through many of the interpretations of Melencolia I, including Panofsky's. [7][8] The prints are considered thematically related by some art historians, depicting labours that are intellectual (Melencolia I), moral (Knight), or spiritual (St. Jerome) in nature. » Le fait que Dürer représente sa Mélancolie avec des ailes trouve donc tout son sens. Saint Jerome and Melencolia may be informal pendants; Saint Jerome’s clarity, light, and order contrast markedly with Melencolia’s brooding angst, nocturnal setting, and disorderly arrangement. Le titre est pris de l'œuvre où il apparaît comme un élément de la composition. [33] It has few perspective lines leading to the vanishing point (below the bat-like creature at the horizon), which divides the diameter of the rainbow in the golden ratio. Melencolia I is a 1514 engraving by the German Renaissance artist Albrecht Dürer. • Melencolia est la gravure autour de laquelle est construite l'intrigue du roman de Henri Loevenbruck, Le Testament des siècles, qui a également été adapté en BD. The "botched" polyhedron in the engraving therefore symbolises a failure to understand beauty, and the figure, standing in for the artist, is in a gloom as a result. Dürer était doué d’un esprit très ouvert, curieux de tout. West Building Summarizing its art-historical legacy, he wrote that "the influence of Dürer's Melencolia I—the first representation in which the concept of melancholy was transplanted from the plane of scientific and pseudo-scientific folklore to the level of art—extended all over the European continent and lasted for more than three centuries."[4]. Cranach's paintings, however, contrast melancholy with childish gaiety, and in th… Walter L Strauss, The complete engravings, etchings and drypoints of Albrecht Dürer, New York, 1962, pp 166–69, no 79. [53] The chaos of the print lends itself to modern interpretations that find it a comment on the limitations of reason, the mind and senses, and philosophical optimism. Peter-Klaus Schuster, Melencolia I Dürer’s Denkbild [2 vols], Berlin, 1991. The print's central subject is an enigmatic and gloomy winged female figure thought to be a personification of melancholia - melancholy. In Plato's dialog, Socrates and Hippias consider numerous definitions of the beautiful. Artists from the sixteenth century used Melencolia I as a source, either in single images personifying melancholia or in the older type in which all four temperaments appear. A putto sits atop a millstone (or grindstone) with a chip in it. The unusual polyhedron destabilizes the image by blocking some of the view into the distance and sending the eye in different directions. He presented his final major work, the Four Apostles (1526), to the city of Nuremberg, which had adopted Lutheranism 18 months earlier. [6] The print has two states; in the first, the number nine in the magic square appears backward,[10] but in the second, more common impressions it is a somewhat odd-looking regular nine. [22] The ladder leaning against the structure has no obvious beginning or end, and the structure overall has no obvious function. © 2021 National Gallery of Art   Notices   Terms of Use   Privacy Policy. Melencolia I ou La Melencolia, est le nom donné à une gravure sur cuivre d'Albrecht Dürer (né le 21 mai 1471 et mort en 1528 à Nuremberg ; peintre, graveur et mathématicien allemand. Back in Nuremberg, where he largely stayed until 1520, Dürer alternated between periods focusing on painting and graphic work. He linked imagination (the first and lowest level) to artistic genius; this may account for the numeral “1” in the title and provide a key for explaining the frustration of the winged figure-cum-artist. Learn more. [24], A bat-like creature spreads its wings across the sky, revealing a banner printed with the words "Melencolia I". Copy after Lucas Cranach the Elder's 1528 painting in Edinburgh[59], The Woman with the Spider's Web or Melancholy. In 1513 and 1514, Dürer experienced the death of a number of friends, followed by his mother (whose portrait he drew in this period), engendering a grief that may be expressed in this engraving. Melencolia I est le titre d'une gravure exécutée en 1514 par Albrecht Dürer (1471-1528). At one point the dialog refers to a millstone, an unusually specific object to appear in both sources by coincidence. Cette célèbre gravure sur cuivre d'Albrecht Dürer est datée de 1514. Further, Dürer may have seen the perfect dodecahedron as representative of the beautiful (the "quintessence"), based on his understanding of Platonic solids. The unusual solid that dominates the left half of the image is a truncated rhombohedron[29][30] with what may be a faint skull[6] or face, possibly even of Dürer. The intensity of her gaze, however, suggests an intent to depart from traditional depictions of this temperament. Additionally, the corners and each quadrant sum to 34, as do still more combinations. At the same time, he wrote verse, studied languages and mathematics, and started drafting a treatise on the theory of art. This, in a word, is a form of katharsis—not in the medical or religious sense of a 'purgation' of negative emotions, but a 'clarification' of the passions with both ethical and spiritual consequences". Alleged to suffer from an excess of black bile, melancholics were thought to be especially prone to insanity. There is little documentation to provide insight into Dürer's intent. [59][60] They share elements with Melencolia I such as a winged, seated woman, a sleeping or sitting dog, a sphere, and varying numbers of children playing, likely based on Durer's Putto. [17], The winged, androgynous central figure is thought to be a personification of melancholia or geometry. Since the ancient Greeks, the health and temperament of an individual were thought to be determined by the four humors: black bile (melancholic humor), yellow bile (choleric), phlegm (phlegmatic), and blood (sanguine). They share elements with Melencolia I such as a winged, seated woman, a sleeping or sitting dog, a sphere, and varying numbers of children playing, likely based on Durer's Putto. [6] On the face of the building is a 4×4 magic square—the first printed in Europe[25]—with the two middle cells of the bottom row giving the date of the engraving, 1514, which is also seen above Dürer's monogram at bottom right. Albrecht Dürer, Emperor Maximilian I, c. 1518, woodcut, 1980.45.455. A putto seated on a millstone writes on a tablet while below, an emaciated dog sleeps between a sphere and a truncated polyhedron. [48] Melencolia I portrays a state of lost inspiration: the figure is "surrounded by the instruments of creative work, but sadly brooding with a feeling that she is achieving nothing. "[5] Panofsky's studies in German and English, between 1923 and 1964 and sometimes with coauthors, have been especially influential. dürer, melencolia i, durer, allemand, allemagne, 1514, gravure, maître de la renaissance allemande albrecht dürer Albrecht Dürer, Melencolia I, 1514 Robe trapèze Par edsimoneit Joseph Leo Koerner abandoned allegorical readings in his 1993 commentary, describing the engraving as purposely obscure, such that the viewer reflects on their own interpretive labour. "[13] Dürer's personification of melancholia is of "a being to whom her allotted realm seems intolerably restricted—of a being whose thoughts 'have reached the limit'". MELENCOLIA § I 1514 - Gravure au burin sur cuivre (?) [12] Another note reflects on the nature of beauty. In the Baroque period, representations of Melancholy and Vanity were combined. Mais il diffère plus fortement encore de Melencolia I (fìg. Numerous unused tools and mathematical instruments are scattered around, including a hammer and nails, a saw, a plane, pincers, a straightedge, a molder's form, and either the nozzle of a bellows or an enema syringe (clyster). He wrote, "The vast effort of subsequent interpreters, in all their industry and error, testifies to the efficacy of the print as an occasion for thought. [31] There is little tonal contrast and, despite its stillness, a sense of chaos, a "negation of order",[20] is noted by many art historians. [9] While Dürer sometimes distributed Melencolia I with St. Jerome in His Study, there is no evidence that he conceived of them as a thematic group. [16] He suggested instead that the "I" referred to the first of three types of melancholy defined by Cornelius Agrippa (see Interpretation). Certain relationships in humorism, astrology, and alchemy are important for understanding the interpretive history of the print. A set of keys and a purse hang from the belt of her long dress. 4th St and Constitution Ave NW The area is strewn with symbols and tools associated with craft and carpentry, including an hourglass, weighing scales, a hand plane, a claw hammer, and a saw. [38], In 1905, Heinrich Wölfflin called the print an "allegory of deep, speculative thought". His analysis, that Melencolia I is an "elaborately wrought allegory of virtue ... structured through an almost diagrammatic opposition of virtue and fortune", arrived as allegorical readings were coming into question. Born in Nuremberg, Dürer apprenticed first with his father, a goldsmith, and then with Michael Wolgemut, the leading painter and woodcut artist in the city. He worked in Basel and Strasbourg as a journeyman before visiting Venice in 1494–1495, where he became one of the first northern European artists to study the Italian Renaissance in situ. But what Dürer intended by the term, and how the print’s mysterious figures and perplexing objects contribute to its meaning, continue to be debated. [19] She sits on a slab with a closed book on her lap, holds a compass loosely, and gazes intensely into the distance. Dürer est non seulement peintre, mais s’intéresse aussi sérieusement aux mathématiques, et … In front of the dog lies a perfect sphere, which has a radius equal to the apparent distance marked by the figure's compass. Albrecht Dürer, quoted in Erwin Panofsky, Albrecht Dürer (Princeton University Press, 1943), vol. MELENCOLIA I* THE INFINITE SYMBOLIC POETIC METAPHOR. [23] Attached to the structure is a balance scale above the putto, and above Melancholy is a bell and an hourglass with a sundial at the top. [40][42], Other aspects of the print reflect the traditional symbolism of melancholy, such as the bat, emaciated dog, purse and keys. Giehlow specialized in the German humanist interest in hieroglyphics and interpreted Melencolia I in terms of astrology, which had been an interest of intellectuals connected to the court of Maximilian in Vienna. Albrecht Dürer, quoted in Erwin Panofsky. A ladder with seven rungs leans against the structure, but neither its beginning nor end is visible. Prints by Hans Sebald Beham (1539) and Jost Amman (1589) are clearly related. It is also associative, meaning that any number added to its symmetric opposite equals 17 (e.g., 15+2, 9+8). "[9], In 2004, Patrick Doorly argued that Dürer was more concerned with beauty than melancholy. 7th St and Constitution Ave NW [9] Her face is relatively dark, indicating the accumulation of black bile, and she wears a wreath of watery plants (water parsley[disambiguation needed] and watercress[20][21] or lovage). Il s'intéresse aussi aux proportions (proportions du cheval et proportions du corps humain). Stay up to date about our exhibitions, news, programs, and special offers. [53] For example, Dürer perhaps made the image impenetrable in order to simulate the experience of melancholia in the viewer. Dürer ne saurait profiter de sa bibliothèque colossale sans l'aide éclairée de son ami Pirckheimer et du cercle qui l'entoure. Albrecht Dürer, Knight, Death, and Devil, 1513, engraving on laid paper, 1941.1.20, Albrecht Dürer, Saint Jerome in His Study, 1514, engraving on laid paper, 1949.1.11, Albrecht Dürer, Melencolia I, 1514, engraving, 1949.1.17, Albrecht Dürer, Self-portrait with gloves at age 26, 1498, Museo del Prado, Madrid, Spain, Photo Credit: Scala / Art Resource, NY. The dialog then examines the notion that the "useful" is the beautiful, and Dürer wrote in his notes, "Usefulness is a part of beauty. [47] The first, melancholia imaginativa, affected artists, whose imaginative faculty was considered stronger than their reason (compared with, e.g., scientists) or intuitive mind (e.g., theologians). Il s’agit d’une composition symbolique complexe dont le thème est la mélancolie. Comme le formule Panofsky : « Ce nest pas le sommeil qui paralyse son énergie, cest la pensée. Instead of mediating a meaning, Melencolia seems designed to generate multiple and contradictory readings, to clue its viewers to an endless exegetical labor until, exhausted in the end, they discover their own portrait in Dürer's sleepless, inactive personification of melancholy. By the time of his second trip to Italy, 1505–1507, he was the most celebrated German artist of the period. Le goût d'Albrecht Dürer pour les mathématiques se retrouve dans la gravure Melencolia, tableau dans lequel il glisse un carré magique, un polyèdre constitué de deux triangles équilatéraux et six pentagones irréguliers.

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