Cet animal avait été offert par le roi du Portugal Manuel Ier au pape Leo X. Creator/Artist; Name: Dürer, Albrecht: Date of birth/death: 1471-05-21: 1528-04-06: Location of birth/death: Deutsch: Nürnberg. [37][38] The resulting chiaroscuro woodcut, which entirely omitted the text, was published after 1620. Gilles Le Corre: 1525 Durer Initials (2010). Despite its anatomical inaccuracies, Dürer's woodcut became very popular in Europe and was copied many times in the following three centuries. It lives at the Metropolitan Museum of Art in New York. It sailed on the Nossa Senhora da Ajuda,[9] which left Goa in January 1515. Whereas, in the past, the study of zoology had been guided by classical authorities, there was a growing sense that firsthand observation was also of vital importance. . Manfred Klein. On Trinity Sunday, 3 June, Manuel arranged a fight with a young elephant from his collection, to test the account by Pliny the Elder that the elephant and the rhinoceros are bitter enemies. A live rhinoceros was not seen again in Europe until a second specimen, named Abada, arrived from India at the court of Sebastian of Portugal in 1577, being later inherited by Philip II of Spain around 1580. ‘Rhinoceros’ was created in 1515 by Albrecht Durer in Northern Renaissance style. It has a strong pointed horn on the tip of its nose, which it sharpens on stones. It is the colour of a speckled tortoise,[28] and is almost entirely covered with thick scales. The mission returned without an agreement, but diplomatic gifts were exchanged, including the rhinoceros. [2] In late 1515, the King of Portugal, Manuel I, sent the animal as a gift for Pope Leo X, but it died in a shipwreck off the coast of Italy in early 1516. The Rhinoceros is a Northern Renaissance Wood Block Print Print created by Albrecht Dürer in 1515. © www.AlbrechtDurer.org 2019. A blackletter. His woodcuts had made him one of the most famous and successful artists in Europe. [8] At that time, the rulers of different countries would occasionally send each other exotic animals to be kept in a menagerie. Durer’s text at the top of the woodcut confirms the impression that the image gives of a powerful fighting beast feared even by elephants. 3 vols I … Albuquerque passed the gift on to Dom Manuel I, the king of Portugal. [33] His image is truer to life, omitting Dürer's more fanciful additions and including the shackles and chain used to restrain the rhinoceros;[33] however, Dürer's woodcut is more powerful and eclipsed Burgkmair's in popularity. The King was keen to curry favour with the Pope, to maintain the papal grants of exclusive possession to the new lands that his naval forces had been exploring in the Far East since Vasco da Gama discovered the sea route to India around Africa in 1498. Title: The Rhinoceros. He depicts an animal with hard plates that cover its body like sheets of armour, with a gorget at the throat, a solid-looking breastplate, and what appear to be rivets along the seams. The rhinoceros was already well accustomed to being kept in captivity. 136; M., Holl. Only one impression (example) of Burgkmair's image has survived,[34] whereas Dürer's print survives in many impressions. The carcass of the rhinoceros was recovered near Villefranche, and its hide was returned to Lisbon, where it was stuffed. Dürer produced a first edition of his woodcut in 1515, in the first state, which is distinguished by only five lines of text in the heading. Albrecht Dürer's Rhinoceros Can you make a visual representation of something you've never actually seen? [10] The ship, captained by Francisco Pereira Coutinho,[11] and two companion vessels, all loaded with exotic spices, sailed across the Indian Ocean, around the Cape of Good Hope and north through the Atlantic, stopping briefly in Mozambique, Saint Helena and the Azores. [47] Semiotician Umberto Eco argues (fetching the idea from E.H. Gombrich, Art and Illusion: A Study in the Psychology of Pictorial Representation, 1961) that Dürer's "scales and imbricated plates" became a necessary element of depicting the animal, even to those who might know better, because "they knew that only these conventionalized graphic signs could denote «rhinoceros» to the person interpreting the iconic sign." Even so, Bruce's own illustration of the African white rhinoceros, which is noticeably different in appearance to the Indian rhinoceros, still shares conspicuous inaccuracies with Dürer's work. Español : El Rinoceronte de Durero es el nombre que recibe un grabado xilográfico creado por el pintor y grabador alemán Alberto Durero en 1515. Martin Lorenz and Joan Pastor: VLNL TpDuro (2019). [1] The image was based on a written description and brief sketch by an unknown artist of an Indian rhinoceros that had arrived in Lisbon earlier that year. [31] Dürer also draws a scaly texture over the body of the animal, including the "armour". It is the mortal enemy of the elephant. Provenance. The rhinoceros’ horn is much larger and imposing than in nature and, indeed, Durer shows the animal as having a second, smaller, spiral horn on its back. He did this until until he was 15 and started training with Michael Wolgemut. (He never personally saw one.) [25][26] and printed a reversed reflection of it.[20][27]. [37] This was the seventh of the eight editions in all of the print. Albrecht Dürer Rhinoceros. Although the letterpress text atop this broadsheet suggests otherwise, he in fact copied the woodcut from a drawing and a description given by an eyewitness before the ship carrying this gift for the king of Portugal sank on the way from India. But Durer’s “Rhinoceros” is more than just the depiction of an exotic beast. The animal had been shipped to Lisbon in 1515 as a gift to King Manuel I of Portugal by Afonso de Albequerque the governor of Portuguese India. [19][20], Valentim Fernandes, a Moravian merchant and printer, saw the rhinoceros in Lisbon shortly after it arrived and described it in a newsletter sent to the Nuremberg community of merchants in June 1515. Dürer's Rhinoceros is the name commonly given to a woodcut executed by German painter and printmaker Albrecht Dürer in 1515. Eventually, it was supplanted by more realistic drawings and paintings, particularly those of Clara the rhinoceros, who toured Europe in the 1740s and 1750s. [49], Although very popular, few prints have survived and impressions of the first edition are very rare. He also notes that the skin of a rhinoceros is rougher than it visually appears and that such plates and scales portray this non-visual information to a degree. It has been said of Dürer's woodcut: "probably no animal picture has exerted such a profound influence on the arts".[7]. Medium: Woodcut. [13] The only known copy of the original published poem is held by the Institución Colombina in Seville. Albrecht Durer. The ruler of Gujarat, Sultan Muzafar II (1511-26) had presented it to Alfonso d'Albuquerque, the governor of Portuguese India. Rhinocerus (Rhinoceros) by Albrecht Dürer. See also a French translation in the doctoral thesis of Bruno Faidutti at l', Group of History and Theory of Science – Dürer's Rhinoceros, História do famoso rhinocerus de Albrecht Dürer, "Albrecht Dürer's Rhinoceros, a drawing and woodcut", The Durer Rhinoceros - Masterpieces of the British Museum, File:Durer's Rhinoceros on Cathedral Door, Pisa C17th.jpg, "Albrecht Dürer: Masterpieces from a Private Collection", Joachim and Anne Meeting at the Golden Gate, Portrait of the Artist's Mother at the Age of 63, Colossal quartzite statue of Amenhotep III, Amun in the form of a ram protecting King Taharqa, https://en.wikipedia.org/w/index.php?title=Dürer%27s_Rhinoceros&oldid=996864863, Prints and drawings in the British Museum, Articles with French-language sources (fr), Articles with Portuguese-language sources (pt), Wikipedia articles with WorldCat-VIAF identifiers, Creative Commons Attribution-ShareAlike License. Dürer's "Rhinoceros" was part of the exhibition "Prints and the Pursuit of Knowledge in Early Modern Europe," which was on view September 6–December 10, 2011 at the Arthur M. Sackler Museum. Rhinoceros. It was regarded by Westerners as a true representation of a rhinoceros into the late 18th century. Rhinoceros Albrecht Dürer 1515. Albrecht Durer. It is an emblem of the world of his time. In early 1514, Afonso de Albuquerque, governor of Portuguese India, sent ambassadors to Sultan Muzaffar Shah II, ruler of Cambay (modern Gujarat), to seek permission to build a fort on the island of Diu. In any event, there was not the popular sensation in Rome that the living beast had caused in Lisbon, although a rhinoceros was depicted in contemporary paintings in Rome by Giovanni da Udine and Raphael. [43] The rhinoceros was depicted in numerous other paintings and sculptures and became a popular decoration for porcelain. (Bedini, p.121.) After resuming its journey, the ship was wrecked in a sudden storm as it passed through the narrows of Porto Venere, north of La Spezia on the coast of Liguria. Credit Line: Gift of Junius Spencer Morgan, 1919. He places a small twisted horn on its back and gives it scaly legs and saw-like rear quarters. [29], Dürer's woodcut is not an accurate representation of a rhinoceros. It was housed in King Manuel's menagerie at the Ribeira Palace in Lisbon, separate from his elephants and other large beasts at the Estaus Palace. Some reports say that the mounted skin was sent to Rome, arriving in February 1516, to be exhibited impagliato (Italian for "stuffed with straw"), although such a feat would have challenged 16th-century methods of taxidermy, which were still primitive. 473x327 (35929 octets) ( fr:Rhinocéros Rhinocéros dessiné par fr:Albrecht_Dürer Albrecht Dürer en fr:1515 1515. Home Biography Rhinoceros Legacy of Durer Bibliography Biography Education. Brought from India to the great and powerful King Emanuel of Portugal at Lisbon a live animal called a rhinoceros. Albuquerque decided to forward the gift, known by its Gujarati name of genda, and its Indian keeper, named Ocem, to King Manuel I of Portugal. (21.3 x 29.5 cm) trimmed to block line except at top sheet: 9 3/8 x 11 3/4 in. Accession Number: 19.73.159. Jean-Baptiste Oudry painted a life-size portrait of Clara the rhinoceros in 1749, and George Stubbs painted a large portrait of a rhinoceros in London around 1790. ‎Melvyn Bragg and guests discuss the great German artist Albrecht Dürer (1471-1528) who achieved fame throughout Europe for the power of his images. The Rhinoceros, which must have seemed like a mythical beast to those that viewed it first in Lisbon, would have been a potent symbol of that exotic, untamed, outside world to which Europe was bringing order and enlightenment. The elephant is afraid of the rhinoceros, for, when they meet, the rhinoceros charges with its head between its front legs and rips open the elephant's stomach, against which the elephant is unable to defend itself. This famous sketch of a rhinoceros was created in 1515 by the influential German artist, Albrecht Dürer, reflecting the growing interest in foreign curiosities that had emerged in tangent with the overseas voyages of exploration, commerce and conquest by the Spanish and Portuguese. [35] Later printings have six lines of descriptive text. He did see descriptions of the animal, and even a sketch, sent from Lisbon to Nuremburg by eyewitnesses. Find more prominent pieces of animal painting at Wikiart.org – best visual art database. King Francis I of France was returning from Saint-Maximin-la-Sainte-Baume in Provence, and requested a viewing of the beast. The image is available via Institutional Open Content, and tagged Animals. After a relatively fast voyage of 120 days, the rhinoceros was finally unloaded in Portugal, near the site where the Manueline Belém Tower was under construction. (23.8 x 29.9 cm) Classification: Prints. [11], The block passed into the hands of the Amsterdam printer and cartographer Willem Janssen (also called Willem Blaeu amongst other names). Dürer n’a jamais observé ce rhinocéros qui était le premier individu vivant vu en Europe depuis l’époque romaine.

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