Wikipedia: Martin Schongauer |
Martin Schongauer (c. 1448 – 2 February 1491) was a German engraver and painter. He was the most important German printmaker before Albrecht Dürer.
His prints were circulated widely and Schongauer was known in Italy by the names Bel Martino and Martino d'Anversa.
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Biography
His father was a goldsmith named Casper, a native of Augsburg, who had settled at Colmar, where the chief part of Martin's life was spent. He may well have been trained by Master E. S.; A. Hyatt Mayor saw both their styles in different parts of one engraving, and all the works with Schongauer's M†S monogram show a fully developed style. Schongauer established at Colmar a very important school of engraving, out of which grew the "Little Masters" of the succeeding generation, and a large group of Nuremberg artists.
As a painter, Schongauer was a follower of the Flemish Rogier van der Weyden, and his rare existing pictures closely resemble, both in splendour of color and exquisite minuteness of execution, the best works of contemporary art in Flanders.
Among the very few paintings which can with certainty be attributed to him, the chief is a magnificent altar-piece in the church of Saint Martin at Colmar. The Musée d´Unterlinden in Colmar possesses eleven panels by him, and a small panel of David with Goliath's Head in the Munich Gallery is attributed to him. The miniature painting of the Death of the Virgin in the National Gallery, London is probably the work of some pupil. In 1488 Schongauer died at Colmar, according to the register of Saint Martin Church. Other authorities state that his death occurred in 1491.
The main work of Schongauer's life was the production of a large number of beautiful engravings, which were largely sold, not only in Germany, but also in Italy and even in England and Spain. Vasari says that Michelangelo copied one of his engravings, in the Trial of Saint Anthony. His style shows no trace of Italian influence, but a very clear and organised Gothic.
His subjects are mainly religious, but include comic scenes of ordinary life such as the Peasant family going to market or the Two apprentices fighting.[1] One hundred and sixteen engravings are generally recognised as by his hand, and since several are only known from a single impression, there were probably others that are now lost. Many of his pupils' plates as well as his own are signed, M†S, as are many copies probably by artists with no connection to him.
Among the most renowned of Schongauer's engravings are the series of the Passion and the Death and Coronation of the Virgin, and the series of the Wise and Foolish Virgins. All are remarkable for their miniature-like treatment, their brilliant touch, and their chromatic force. Some, such as the Death of the Virgin and the Adoration of the Magi are richly-filled compositions of many figures, treated with much largeness of style in spite of their minute scale.
He established the system of depicting volume by means of cross-hatching (lines in two directions) which was further developed by Dürer, and was the first engraver to curve parallel lines, probably by rotating the plate against a steady burin. He also developed a burin technique producing deeper lines on the plate, which meant that more impressions could be taken before the plate became worn.
The British Museum and other major print rooms possess fine collections of Schongauer's prints.
Notes
References
"Schongauer, Martin". Encyclopædia Britannica (11th ed.). 1911.
- A. Hyatt Mayor, Prints and People, Metropolitan Museum of Art/Princeton, 1971, nos 455-460.ISBN 0-691-00326-2
- Alan Shestack; Fifteenth Century Engravings of Northern Europe; 1967, National Gallery of Art (Catalogue), LOC 67-29080
- Maria del Carmen Lacarra Ducay. “Influencia de Martin Schongauer en los primitivos aragoneses,” Boletin del Museo e Instituto ‘Camon Aznar’, vol. xvii (1984), pp. 15–39.
External links
- [1] -Links to online museum images of most of Schongauer's engravings (NOT Public Domain images) See section B.
Adolf Loos By Panayotis Tournikiotis 一書中有為德沃夏克設計的墓
本書表明了德沃夏克是最早關注手法主義的現代美術史家之一。沃爾夫林將手法主義視為古典美的衰落，而德沃夏克卻對手法主義進行了重新評價，認為它是一種積 極的審美態度，折射出當時深刻的精神危機。埃爾？格列柯的繪畫作品塵封于教堂地窖中四百年，長期以來，人們認為他要麼是一個獵奇的狂妄畫家，要麼就是個瘋 子。德沃夏克文中追溯了這位畫家的精神發展史，將他定位為20世紀現代主義藝術思潮的源泉。這一論斷在當時具有革命性的意義，顯然與他和柯柯施卡等當代表 現主義畫家的交往有關。
譯者前言
第一章地下墓窟繪畫——基督教美術的開端
第二章雄高爾與尼德蘭美術
第三章丟勒的《啟示錄》
第四章論尼德蘭羅馬主義的歷史前提
第五章老勃魯蓋爾
第六章論埃爾‧格列柯與手法主義
索引
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