« 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. Panofsky believes that it is night, citing the "cast-shadow" of the hourglass on the building, with the moon lighting the scene and creating a lunar rainbow. Le tableau est célèbre et inspirera de nombreux artistes de Paul Verlaine à Lars von Trier , en passant pas Jean-Paul Sartre . The National Gallery of Art serves the nation by welcoming all people to explore and experience art, creativity, and our shared humanity. Dürer ne saurait profiter de sa bibliothèque colossale sans l'aide éclairée de son ami Pirckheimer et du cercle qui l'entoure. 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. [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". A putto sits atop a millstone (or grindstone) with a chip in it. Behind her, a windowless building with no clear architectural function[22][20] rises beyond the top of the frame. dürer, melencolia i, durer, allemand, allemagne, 1514, gravure, maître de la renaissance allemande albrecht dürer Albrecht Dürer, Melencolia I, 1514 Robe trapèze Par edsimoneit Woodcut after an 1803 drawing by Caspar David Friedrich[62]. Closed. The print's central subject is an enigmatic and gloomy winged female figure thought to be a personification of melancholia - melancholy. 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. [24], A bat-like creature spreads its wings across the sky, revealing a banner printed with the words "Melencolia I". 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). 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. Cranach's paintings, however, contrast melancholy with childish gaiety, and in th… Dürer est non seulement peintre, mais s’intéresse aussi sérieusement aux mathématiques, et … He executed several commissions for paintings and began to print and publish his own woodcuts and engravings. Alleged to suffer from an excess of black bile, melancholics were thought to be especially prone to insanity. 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). At the same time, he wrote verse, studied languages and mathematics, and started drafting a treatise on the theory of art. He visited Venice, Florence, and Rome, studying the Italian masters and producing important paintings of his own. 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. [19] To the left of the emaciated, sleeping dog is a censer, or an inkwell with a strap connecting a pen holder. 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. 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. Other art historians see the figure as pondering the nature of beauty or the value of artistic creativity in light of rationalism,[3] or as a purposely obscure work that highlights the limitations of allegorical or symbolic art. 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. [19] She sits on a slab with a closed book on her lap, holds a compass loosely, and gazes intensely into the distance. The evident subject of the engraving, as written upon the scroll unfurled by a flying batlike creature, is melencolia—melancholy. The Passion façade of the Sagrada Família contains a magic square based on[64] the magic square in Melencolia I. De gravure is een allegorische compositie , die veelvuldig het onderwerp is geweest van kunsthistorische besprekingen. Il signera Albertus Dürer Noricus (de Nuremberg) ou Dürer Alemanus ou encore de son monogramme, comme vous dürer, melencolia i, durer, allemand, allemagne, 1514, gravure, maître de la renaissance allemande albrecht dürer Albrecht Dürer, Melencolia I, 1514 Tote bag doublé Par edsimoneit Albrecht Dürer’s enigmatic Melencolia I has inspired and provoked viewers for nearly half a millennium. The mysterious light source at right, which illuminates the image, is unusually placed for Dürer and contributes to the "airless, dreamlike space". [53] Martin Büchsel, in contrast to Panofsky, found the print a negation of Ficino's humanistic conception of melancholia. 2) Elle a suspendu son travail, non par indolence, mais parce quil est devenu, à ses yeux, privé de sens. Image Download 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. [43][44] Even the distant seascape, with small islands of flooded trees, relates to Saturn, the "lord of the sea", and his control of floods and tides. Circulated widely, these prints established his international reputation. 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. [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. H. 241 mm - L. 192 mm (?) [6][13][14] Dürer mentions melancholy only once in his surviving writings. Melencolia I ou La Melencolia est le nom donné à une gravure sur cuivre d'Albrecht Dürer datée de 1514. "[49], Autobiography runs through many of the interpretations of Melencolia I, including Panofsky's. Melencolia I ou La Melencolia est le nom donné à une gravure sur cuivre d'Albrecht Dürer datée de 1514. In 1512 Dürer came to the attention of Emperor Maximilian I, who became his greatest patron. The National Gallery of Art and Sculpture Garden are temporarily closed. La gravure Melencolia§I 1,2 de Albrecht Dürer est l’objet d’innombrables commentaires tant sur son iconographie que sur le tempérament mélancolique 3,4,5,6,7,8,9,10,11,12 Etant graveur, j’ai beaucoup scruté l’original aux Musées de Strasbourg et au Los Angeles of Art County Museum et les copies 13.Mon interrogation sur ce qui y est représenté, est restée sans réponse. 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". West Building [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. In the far distance is a landscape with small treed islands, suggesting flooding, and a sea. He reviews the history of images of spiritual consolation in the Middle Ages and the Renaissance, and highlights how Dürer expressed his ethical and spiritual commitment to friends and community through his art. 4th St and Constitution Ave NW MELENCOLIA § I 1514 - Gravure au burin sur cuivre (?) Seemingly immobilized by gloom, she pays no attention to the many objects around her. Dürer était doué d’un esprit très ouvert, curieux de tout. [6], Agrippa defined three types of melancholic genius in his De occulta philosophia. In 1513–1514 Dürer produced his three “master engravings,” including Melencolia I. Despairing of the limits of human knowledge, she is paralyzed and unable to create, as the discarded and unused tools suggest. Doorly interprets the many useful tools in the engraving as symbolizing this idea; even the dog is a "useful" hunting hound. (Fig. Il s'intéresse aussi aux proportions (proportions du cheval et proportions du corps humain). The new emperor renewed the pension Dürer had been granted by Maximilian I. He eventually published books on geometry (1525), fortifications (1527), and the theory of human proportions (1528, soon after his death). MELENCOLIA I DOINA CONSTANTINESCU† Universidad Lucian Blaga- Rumania Φ 1. But Erwin Panofsky, one of the most important art historians of the 20th century, suggested that this work might be Durer's psychological self-portrait. Du 23 janvier au 25 février 2013, le musée Unterlinden de Colmar expose La Mélancolie (1514) d’Albrecht Dürer.À travers cette gravure, véritable allégorie de la mélancolie, réalisée alors que s’annonce la Réforme, Dürer s’intéresse à ce tempérament décrit dès l’antiquité. "[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. [6] He made a few pencil studies for the engraving and some of his notes relate to it. Le titre est pris de l'œuvre où il apparaît comme un élément de la composition. A ladder leans against a building that supports a balance, an hour glass, and a bell. Durer didn't leave us any written explanations about his intended meaning in Melencolia I. Quand lâme voit une forme belle, ell… 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. Albrecht Dürer, Melencolia I, 1514, engraving, 24.45 x 19.37 cm (Minneapolis Institute of Art). Behind the figure is a structure with an embedded magic square, and a ladder leading beyond the frame. Melencolia I est le titre d'une gravure exécutée en 1514 par Albrecht Dürer (1471-1528). 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. Albrecht Dürer, quoted in Erwin Panofsky, Albrecht Dürer (Princeton University Press, 1943), vol. 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. Additionally, the corners and each quadrant sum to 34, as do still more combinations. [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. 7th St and Constitution Ave NW This sort of interpretation assumes that the print is a Vexierbild (a "puzzle image") or rebus whose ambiguities are resolvable. Albrecht Dürer, quoted in Erwin Panofsky. 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. Il s'intéresse aussi aux proportions (proportions du cheval et proportions du corps humain). By the time of his second trip to Italy, 1505–1507, he was the most celebrated German artist of the period. Melencolia I (Melancholie) is een gravure uit 1514 gemaakt door de Duitse renaissancekunstenaar Albrecht Dürer, 24 × 18,8 centimeter groot. Cette célèbre gravure sur cuivre d'Albrecht Dürer est datée de 1514. Certain relationships in humorism, astrology, and alchemy are important for understanding the interpretive history of the print. 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. [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). MELENCOLIA I* THE INFINITE SYMBOLIC POETIC METAPHOR. Melancholia was traditionally the least desirable of the four temperaments, making for a constitution that was, according to Panofsky, "awkward, miserly, spiteful, greedy, malicious, cowardly, faithless, irreverent and drowsy". Comme le formule Panofsky : « Ce nest pas le sommeil qui paralyse son énergie, cest la pensée. 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. ALBRECHT DÜRER. 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. © 2021 National Gallery of Art Notices Terms of Use Privacy Policy. Other objects relate to alchemy, geometry or numerology. 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. Melencolia I has been the subject of more scholarship than probably any other print. He also rigorously studied intellectual concepts central to the Renaissance: perspective, absolute beauty, proportion, and harmony. Renaissance thought, however, revamped the status of the dreaded humor by connecting it to creative genius as well as madness. He died in 1528. The evident subject of the engraving, as written upon the scroll unfurled by a flying batlike creature, is melencolia—melancholy. As Agrippa's study was published in 1531, Panofsky assumes that Dürer had access to a manuscript. He is largely credited with bringing the Italian Renaissance to northern Europe, and he revolutionized printmaking, elevating it to an independent art form. [22] The ladder leaning against the structure has no obvious beginning or end, and the structure overall has no obvious function. [16] He suggested instead that the "I" referred to the first of three types of melancholy defined by Cornelius Agrippa (see Interpretation). [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. The rightmost portion of the background may show a large wave crashing over land. Lucas Cranach the Elder used its motifs in numerous paintings between 1528 and 1533. Dürer était à la fois graveur, peintre et mathématicien. [6] Melencolia I is one of Dürer's three Meisterstiche ("master prints"), along with Knight, Death and the Devil (1513) and St. Jerome in His Study (1514). Albrecht Dürer, Melencolia I,1514, engraving, 24 x 18.5 cm (The Metropolitan Museum of Art) Albrecht Dürer is the rare artist who truly deserves to be called genius. A commonly quoted note refers to the keys and the purse—"Schlüssel—gewalt/pewtell—reichtum beteut" ("keys mean power, purse means wealth")[11]—although this can be read as a simple record of their traditional symbolism. A set of keys and a purse hang from the belt of her long dress. Les meilleures offres pour Albrecht DURER - Ancienne gravure de Johan Wiricx (Wierix) - Melencolia sont sur eBay Comparez les prix et les spécificités des produits neufs et d'occasion Pleins d'articles en livraison gratuite! [19], In Perfection's Therapy (2017), Merback argues that Dürer intended Melencolia I as a therapeutic image. 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. Melencolia I ou La Melencolia est le nom donné à une gravure sur cuivre d'Albrecht Dürer datée de 1514. The figure wears a wreath of "wet" plants to counteract the dryness of melancholy, and she has the dark face and dishevelled appearance associated with the melancholic. Le St. Jérôme diffère du Chevalier, la Mort et le Diable en ce quil oppose lidéal de la vie contemplative à celui de la vie active dans le siècle. [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. [33], Dürer's friend and first biographer Joachim Camerarius wrote the earliest account of the engraving in 1541. In 1991, Peter-Klaus Schuster published Melencolia I: Dürers Denkbild,[51] an exhaustive history of the print's interpretation in two volumes. Ficino thought that most intellectuals were influenced by Saturn and were thus melancholic. Dürer might have been referring to this first type of melancholia, the artist's, by the "I" in the title. 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. Stay up to date about our exhibitions, news, programs, and special offers. Dürer's Melencolia I is one of three large prints of 1513 and 1514 known as his Meisterstiche (master engravings). [17], The winged, androgynous central figure is thought to be a personification of melancholia or geometry. 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. Clevelandart 1926.211.jpg 2,693 × 3,400; 7.68 MB A ladder with seven rungs leans against the structure, but neither its beginning nor end is visible. Albrecht Dürer’s enigmatic Melencolia I has inspired and provoked viewers for nearly half a millennium. The intensity of her gaze, however, suggests an intent to depart from traditional depictions of this temperament. Le mystère qui l'entoure ne se dissipe pas complètement avec la récente résolution de ses mathématiques par Hans Weitzel (2004), car la définition Dürer était doué d’un esprit très ouvert, curieux de tout. Melencolia dans l’œuvre de Dürer. She is winged but cannot fly. [11] Ficino and Agrippa's writing gave melancholia positive connotations, associating it with flights of genius. Media in category "Melencolia I by Albrecht Dürer" The following 37 files are in this category, out of 37 total. Les différents numéros d'enregistrement attestent que le B. M. ne compte pas moins de 10 exemplaires de la gravure, parfois désignés par "Melancholia", ou même "print". 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. 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. The lie is in our understanding, and darkness is so firmly entrenched in our mind that even our groping will fail. Melencolia I est souvent considérée comme faisant partie d'une série, Meisterstiche, comprenant également Le chevalier, la mort et le diable (1513) et Saint Jérôme dans sa cellule (1514). Cranach's paintings, however, contrast melancholy with childish gaiety, and in the 1528 painting, occult elements appear. A winged figure sits, brooding, her face in shadow but her eyes alert. The sky contains a rainbow, a comet or planet, and a bat-like creature bearing the text that has become the print's title. À la fin du roman La Clef des mensonges de Jean-Bernard Pouy, le héros mourant trouve Melencolia dans un coffre censé contenir l'explication de la quête dans laquelle il s'est laissé emporter. The print was taken up in Romantic poetry of the nineteenth century in English and French.[63]. He scribbles on a tablet, or perhaps a burin used for engraving; he is generally the only active element of the picture. » Le fait que Dürer représente sa Mélancolie avec des ailes trouve donc tout son sens. [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. Melencolia I Melencolia I. C’est le titre d’une gravure de 1514 du peintre de la renaissance Albrecht Dürer, qui y dépeint la mélancolie (du grec melancholia, pour melas, noir et cholée, humeur). In the Baroque period, representations of Melancholy and Vanity were combined. Melencolia I is a 1514 engraving by the German Renaissance artist Albrecht Dürer. [7], The print contains numerous references to mathematics and geometry. Peter-Klaus Schuster, Melencolia I Dürer’s Denkbild [2 vols], Berlin, 1991. Il s’agit d’une composition symbolique complexe dont le thème est la mélancolie. Domenico Fetti's Melancholy/Meditation (c. 1620) is an important example; Panofsky et al. 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. Geometry was one of the Seven Liberal Arts and its mastery was considered vital to the creation of high art, which had been revolutionised by new understandings of perspective. In the background, a blazing star or comet illuminates a seascape surmounted by a rainbow. Melencolia - Dürer. Le titre est pris de l'œuvre où il apparaît comme un élément de la composition. Despite having recently converted to Lutheranism, he attended the coronation of the ultra-Catholic Emperor Charles V in Aachen. 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. Il profiterait notamment des conseils d'un prêtre astronome et mathématicien, Johannes Werner (1468-1528), réputé pour sa pédagogie. Closed, Sculpture Garden Based on research generously provided by Thomas E. Rassieur at the Minneapolis Institute of Art, and narrated by Dr. Naraelle Hohensee The other two are Knight, Death, and the Devil and Saint Jerome in His Study. The dialog then examines the notion that the "useful" is the beautiful, and Dürer wrote in his notes, "Usefulness is a part of beauty. Lucas Cranach the Elder used its motifs in numerous paintings between 1528 and 1533. 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. Ironically, this anguished representation of artistic impotence has proved a shining and enduring example of the power of Dürer’s art. [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. Le titre est pris de l'œuvre où il apparaît comme un élément de la composition. [55] Treatments for melancholia in ancient times and in the Renaissance occasionally recognized the value of "reasoned reflection and exhortation"[56] and emphasized the regulation of melancholia rather than its elimination "so that it can better fulfill its God-given role as a material aid for the enhancement of human genius". Download a digital image of this work, Albrecht Dürer (artist), German, 1471 – 1528, Melencolia I, 1514, engraving on laid paper, sheet (trimmed to plate mark): 24.2 x 18.8 cm (9 1/2 x 7 3/8 in. This assumption has been challenged, such as by Hoffman, summarized in Merback, 43. As such, Dürer may have intended the print as a veiled self-portrait. 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. Mais il diffère plus fortement encore de Melencolia I (fìg. 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. There is little documentation to provide insight into Dürer's intent. After his return he focused mainly on portraits and small engravings. Peter-Klaus Schuster, Mélancolie: génie et folie en Occident, ‘Melencolia I Dürer et sa postérité’, Paris, 2005, pp 90–104, 138–39. 1, 171. A putto seated on a millstone writes on a tablet while below, an emaciated dog sleeps between a sphere and a truncated polyhedron. The unusual polyhedron destabilizes the image by blocking some of the view into the distance and sending the eye in different directions. [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). 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. In front of the dog lies a perfect sphere, which has a radius equal to the apparent distance marked by the figure's compass. Most art historians view the print as an allegory, assuming that a unified theme can be found in the image if its constituent symbols are "unlocked" and brought into conceptual order. At one point the dialog refers to a millstone, an unusually specific object to appear in both sources by coincidence. Cette gravure contient une multitude d'éléments symboliques en rapport avec les mathématiques. 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. A magic square is inscribed on one wall; the digits in each row, column, and diagonal add up to 34. Unlike many of his other prints, these engravings, large by Dürer’s standards, were intended more for connoisseurs and collectors than for popular devotion. Genius, however, is tricky business. Some scholars have interpreted the master engravings as complementary examples of different virtues—moral (the Knight), theological (Saint Jerome), and intellectual (Melencolia). He writes, the "thematic of a virtue-building inner reflection, understood as an ethical-therapeutic imperative for the new type of pious intellectual envisioned by humanism, certainly underlies the conception of Melencolia". Learn more. [11] Reflecting the medieval iconographical depiction of melancholy, she rests her head on a closed fist. 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].
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