The beginning and end of Renaissance art
Inspiring exhibit mirrors the past
Anna Nguyen
Issue date: 2/4/09 Section: Lifestyles
A new exhibition at the Fine Arts Center Gallery explores the relevant and shared religious, technical and cultural inspiration between two of the most influential painters and printmakers in European art history, German artist Albrecht Dürer and Dutch artist Rembrandt Harmensz van Rijn.
"The Inspired Line: Selected Prints of Albrecht Dürer and Rembrandt van Rijn" displays original prints from the Thrivent Financial Collection of Religious Art. The pieces will show Dürer's earlier woodcuts from the 15th century and Rembrandt's pieces from the 17th century.
Dürer's prints emphasizes the importance of nature and the body while Rembrandt was interested in human emotions, said Jeffrey Chipps Smith, professor of German art and art in Northern Europe from 1400 to 1700 at the University of Texas in Austin.
Although their prints show many differences, the works of the two printmakers also share similar inspiration in different times.
"There are two prints of 'St. Jerome' by Dürer and Rembrandt that show their different [styles] in treating the same subject matter," said Shannon Dillard Mitchell, director of the Fine Arts Center Gallery, noting that Dürer's style is more primitive. "Dürer's work [emerged] in the beginning of the Renaissance, and Rembrandt began at the end of the Renaissance. In a way, [the exhibit] marks the beginning of art history."
Both artists are known as two of the greatest printmakers in Europe during the 16th century because of their mastery of expressive lines, Smith said.
"Dürer was considered to be the most famous painter in Europe," he said. "In fact, he was more popular than artists such as Michelangelo and Leonardo da Vinci.
"Printmaking was a revolutionary invention of the 15th century," he said. "The ideas were remarkable and acted like an early media giant."
The exhibit feature works such as Dürer's "St. Christopher Facing to the Left" and "Announcement to the Virgin," and Rembrandt's "David in Prayer" and "The Holy Family." Smith also noted that both printmakers are versatile. Dürer's famous "Apocalypse" woodcuts illustrate vivid stories about the destruction of the world while his "The Virgin and the Child" is tender.
"The Inspired Line: Selected Prints of Albrecht Dürer and Rembrandt van Rijn" displays original prints from the Thrivent Financial Collection of Religious Art. The pieces will show Dürer's earlier woodcuts from the 15th century and Rembrandt's pieces from the 17th century.
Dürer's prints emphasizes the importance of nature and the body while Rembrandt was interested in human emotions, said Jeffrey Chipps Smith, professor of German art and art in Northern Europe from 1400 to 1700 at the University of Texas in Austin.
Although their prints show many differences, the works of the two printmakers also share similar inspiration in different times.
"There are two prints of 'St. Jerome' by Dürer and Rembrandt that show their different [styles] in treating the same subject matter," said Shannon Dillard Mitchell, director of the Fine Arts Center Gallery, noting that Dürer's style is more primitive. "Dürer's work [emerged] in the beginning of the Renaissance, and Rembrandt began at the end of the Renaissance. In a way, [the exhibit] marks the beginning of art history."
Both artists are known as two of the greatest printmakers in Europe during the 16th century because of their mastery of expressive lines, Smith said.
"Dürer was considered to be the most famous painter in Europe," he said. "In fact, he was more popular than artists such as Michelangelo and Leonardo da Vinci.
"Printmaking was a revolutionary invention of the 15th century," he said. "The ideas were remarkable and acted like an early media giant."
The exhibit feature works such as Dürer's "St. Christopher Facing to the Left" and "Announcement to the Virgin," and Rembrandt's "David in Prayer" and "The Holy Family." Smith also noted that both printmakers are versatile. Dürer's famous "Apocalypse" woodcuts illustrate vivid stories about the destruction of the world while his "The Virgin and the Child" is tender.
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