My Favorite Engravings at Seattle Art Museum

What impressed me most in Seattle Art Museum were two amazing engravings, both by the great German artist Albrecht Dürer (1471-1528).

The first was titled Ritter, Tod und Teufel (Knight, Death and Devil) (1513). This allegorical piece zoomed in on a weary-looking knight amounting a sturdy steed, accompanied by two goat-like strange creatures, one on an exhausted horse to the knight's right — Death, identifiable by the hourglass in his hand reminding the knight of the shortness of life, and the other one following behind on foot, even more hideous looking than Death — the Devil, joining in hearty taunting. Underneath the knight's horse, a hound resolutely ran along on that narrow range of a waste land, as steadfast as the master, who maintained his proud posture and stony countenance in the company of danger, could be seen either as symbol of courage, or foolhardiness.

Dürer's technical virtuosity was astounding, not only in the tense subject and well-planned composition, but particularly also in many fine details, such as the majestic muscles and shining pelt of the horse, the menacing cliffs pressing on the travelers, and the castles seen through barren branches atop the jagged ridge, all through flowing lines, endlessly varied types of fine hatching, the subtle modulations of light and shadow, and the absolute confidence in rendering of minutiae details.


Albrecht Dürer [Public domain], via Wikimedia Commons
Ritter, Tod und Teufel (Knight, Death and Devil), 1513, Albrecht Dürer, 1471-1528

The second Dürer was Das Meerwunder (The Sea Monster, or The Sea Wonder), ca. 1498. This engraving depicted a naked maiden, lying on the back of a scaled creature with human head and fish body, being led or dragged away from shore into broad water body, though it was curiously narrow, more an estuary than an open sea. The background featured a steep hill and a castle on top, and a grander castle at the foot of the hill, just above the shore, onto which maidens clambered several naked in great haste, ostensibly fleeing from danger, the sea monster, and nearby, an old man gesticulating his alarm, next to a collapsed woman lamenting on the ground.

Despite all the drama on the distant shore, the central figures, both the sea creature and the abducted maiden, were rather curiously calm and almost nonchalant save for a few traces of sadness, resignation, and slight distress on the maiden's face, which was in turn betrayed by her body's eloquent pose in a reclined pose often associated with voluptuous and seductive Venus. This contradiction created a fascinating though somewhat sad enigma.

Comparing to the dark tone of Knight piece, this one was much brighter, almost ironically sunny, dominated by more white space due to far less hatching, and result was airy and quite suitable to the sea setting, though no necessarily the obviously disturbing story. These main figures and landscape though were no less three-dimensional, due to energetic and graceful lines, and subtle suggestions of shades and volumes, as in a very fine line drawing. 


Das Meerwunder (The Sea Monster, or The Sea Wonder), ca. 1498, Albrecht Dürer
Albrecht Dürer [Public domain], via Wikimedia Commons


My Favorite Museum Collection Series
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List of My Favorite Artworks in the Museums I've Visited

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Kaiser Maximilian I und die Kunst der Duerer-Zeit in Albertina Museum, Vienna

The Albertina Museum in Vienna is famed for its graphic collections, including many amazing drawings by the great German Renaissance master, Albrecht Dürer, and I had always longed to visit it.  In 2002, when I visited Vienna, I was very disappointed to learn that the museum was close for renovation.



Ten years later, I finally was able to visit this wonderful museum, located in Palais Erzherzog Albrecht (Archduke Albrecht).  The palace itself was as sumptuous as it could be, with richly yet tastefully decorated functional halls and rooms. 



 
 

There were many facsimiles of the famous Dürer drawings and paintings by old and modern masters.  Naturally, I was somewhat disappointed that those Dürer's drawings were not genuine but I also understood the fragility of them and accepted the inevitability.  Nevertheless, seeing them, though copies, in this palatial setting was a visual treat.


Young Hare by Albrecht Dürer (1502), public domain, source: Wikipedia

More gratifying, was a special exhibit, Kaiser Maximilian I. und die Kunst der Dürer-Zeit (Emperor Maximilian I and the Age of Dürer) (14. September 2012 - 6. January 2013), which highlighted some of the museum's greatest collections, plus some works from other museums.



Kaiser Maximilian I. was not the first Hapsburg Holy Roman Emperor but through his and his children's marriages, the Hapsburg's domain increased dramatically and the Habsburg dynasty became perennial dominant force in central Europe.  Below painting of the Maximilian I. and his family was part of the exhibit.


Die Familie des Kaisers Maximilian I., Bernhard Strigel, 1515-1520, Malerei auf Lindenholz, Kunsthistorisches Museum, Wien
The Family of Maximilian I, Bernhard Strigel, 1515-1520  Painting on limewood, Kunsthistorisches Museum, Vienna

The highlights of this special exhibit were two incredible cycles of Triumph Procession of Kaiser Maxilimian I. - a water color cycle by Albrecht Altdorfer and a woodcut cycle by Hans Burgkmair the Elder. Albertina Museum informed us that "the extraordinary Triumphal Procession of Albrecht Altdorfer and his workshop, which will form the core of the exhibit. Of the original 109 large-sized parchment sheets with flamboyantly colourful representations of riders, magnificent chariots and landsknechts, sheets 49 to 109 are preseved in the Albertina and, compiled as a frieze, amount to a length of more than 54 metres."  It was absolutely unforgettable.  Though Hans Burgkmair's cycle was somewhat shorter and only in black and white, it was no less extraordinary.


Die deutschen Fürsten aus dem Triumphzug Kaiser Maximilians I., Albrecht Altdorfer, um 1512-15, Feder in Braun, Aquarell und Deckfarben, Goldhöhungen, auf Pergament, Albertina, Wien
"The German Princes" from the "Triumphal Procession of Emperor Maximilian I", Albrecht Altdorfer, c. 1512-1515  Pen and brown ink, watercolour and bodycolour, heightened with gold, on vellum, Albertina, Vienna


Tross aus dem Triumphzug Kaiser Maximilians I., Albrecht Altdorfer und Werkstatt, um 1512-1515, Feder in Braun, Aquarell- und Deckfarbe, Goldhöhung auf Pergament, Albertina, Wien
"Baggage Train" from the "Triumphal Procession of Emperor Maximilian I", Albrecht Altdorfer and workshop, c. 1512-1515  Pen and brown ink, watercolour and bodycolour, heightened with gold, on vellum, Albertina, Vienna


Der Heilige Georg, Hans Burgkmair d. Ä., 1518  Holzschnitt, Albertina, Wien
Saint George, Hans Burgkmair the Elder, 1518  Woodcut, Albertina, Vienna


Der Verkünder des Triumphes aus dem Triumphzug Kaiser Maximilians I., Hans Burgkmair d. Ä., 1516-18 (3. Ausg. 1796)  Holzschnitt, Albertina, Wien
The Triumphal Procession of Emperor Maximilian I, Hans Burgkmair the Elder, 1796, Woodcut Albertina, Vienna

Two works by Albrecht Dürer included in this exhibition were strikingly remarkable.  His engraving "Knight, Death and the Devil" was an outstanding example of his extremely high achievement as a virtuosic draftsman and engraver, and his deep insight of humanity and his terrifying time.


Ritter, Tod und Teufel, Albrecht Dürer, 1513, Kupferstich, Albertina, Wien
Knight, Death and the Devil, Albrecht Dürer, 1513, Copper engraving, Albertina, Vienna

The other Dürer piece was a floor to ceiling collage of colored woodcut prints - "The Triumphal Arch of Emperor Maximilian I", 1517-18, collaborated by Albrecht Dürer, Hans Springinklee, Wolf Traut and Albrecht Altdorfer, with an approximate dimensions of 3.04 x 2.92 meters.  Here, the sheer size and variety of the details were astonishing and made me giddy.  As a piece of propaganda work, it indeed had reached to the sky. 
 

Ehrenpforte des Kaisers Maximilian I., Albrecht Dürer, 1515 (3. Ausgabe 1559), Holzschnitt, koloriert, aufgezogen, gerollt, Albertina, Wien 
The Triumphal Arch of Emperor Maximilian I, Albrecht Dürer, 3rd edition, 1559, Coloured woodcut, laid down, rolled up, Albertina, Vienna

One more memorable piece in this special exhibit was a painting from Graz - "Death Portrait of Emperor Maximilian I".  It was a spooky one, yet beautiful and it drew viewers in.  These striking black, white, red and green colors, generated an image and presence would not die with the passing of the sitter.  According to the museum's notes, that Maximilian had ordered that his teeth pulled out and bones broken, etc., to demonstrate his humility.  An extraordinary politician!


Totenbildnis Kaiser Maximilians I., Monogrammist A.A., 1519  Tempera auf Papier auf Holzrahmen, Steiermärkisches Landesmuseum Joanneum, Graz
Death Portrait of Emperor Maximilian I, Monogrammist A.A., 1519, Tempera on paper, mounted on a wooden frame, Styrian State Museum Joanneum, Graz

I own a facsimile of a complete book Theuerdank, an extraordinarily illustrated parchment manuscript on a knight and chivalry, which was included in this exhibition along with Maximilian's other book project,  Weisskunig and Freydal.  Below is a quote from an introduction by Stephan Füssel to the fascimile, "Emperor Maximilian and the Media of His Day - The Theuerdank of 1517":

Maxililianwas the first ruler of the modern age to consciously and purposefully employ the new possibilities of book printing - in addition to the "old" media of the spoken word, visual art, folk music, etc. - for maintaining his own power and for increasing the prestige of his dynasty, the House of Habsburg.  In doing so, he was motivated by the concern that otherwise his fame would "die away with the last toll".  As he phrased it so succinctly in his German prose work Weisskunig: "He who creates no memorial in his life will not be remembered after his death and such people will be forgotten when the bell tolls, and for this reason the money I spend on these memorials is not wasted." (Weisskunig ch. 24)

The ear of Maximilian was celebrated by contemporaries as the "beginning of a new age", a "golden age", in which the arts and sciences blossomed and the Empire, inwardly and outwardly stabilised, was at peace.  Among other endeavours, Maximilian opened the University of Vienna to humanistic studies, promoted Latin poetry as well as national vernacular literature, and  imitated the Renaissance culture of the Italian principalities.  He was equally receptive to feudal courtly traditions as he was to technical, scientific and artistic innovations, book printing and the construction of artillery.

... he embodies not only the typical virtues of a ruler, but also artistic and poetic abilities, for example those of the painter.  An old and wise man is said to have told him that he must not only be a just military leader, but also possess an understanding of the arts; as a result, Maximilian painted "diligently" from his earliest youth.  He was also initiated into the secrets of the black arts, that is, magic, as well as those of architecture, carpentry, the preparation of food, music and stringed instruments.

This variety of talents enabled Maximilian to give the various artists he employed - whether painters, composers or writers - instructions about how they should represent his reign, in the language of the humanists, Latin, as well as the language of the people.

Albertina Museum was also a living one and it kept collecting modern works.  The most recognizable names included Chagall, Picasso and Munch, etc.  Below are a sample of the paintings I enjoyed while visiting it last month:


Mutterschaft (Motherhood), Marc Chagall, 1914, Öl auf Papier (Oil on Paper)


Frau mit Katze (Woman and Cat), Max Beckmann, 1942, Öl auf Leinwand (Oil on Canvas)


Bidnis M. B. (Portrait of M. B.), Herbert Boeckl (1894-1966), 1919, Öl auf Leinwand (Oil on Canvas)


Landschaft mit Lanternen (Landscape with Lanterns), 1958, Paul Delvaux (1897-1994) 


Label: Austria, Austria and Italy Trip 2012

My Favorite Artworks at Musée du Louvre, Paris

In jubilee year 2000, after completing my "Grand Tour" of Italy, I went to another art capital in Europe - Paris.  However saturated I was, I continued my greedy exposure to art and here comes a confession - I spent so much time in museums in Paris that the city failed to impress me in my first trip there.  It was only when I returned in six years' time that I truly fell in love with Paris.

Well, back to my Paris trip in 2000.  The most unbelievable institution was naturally Musée du Louvre, whose immensity, both the structure itself and its collection was sheer breathtaking.

My strategy of touring the palace was dividing the collections into three categories - I'd ignore one of them altogether, and walk by the second group very quickly, and for the third group, I'd spend more time to study objects I was more interested in.  Naturally, my impossible top two choices were from that last group.

The first pick was the dynamic La Victoire de Samothrace - Winged Victory of Samothrace (Nike of Samothrace), discovered in 1863, estimated to have been created around 190 BC.  This classical marble defied the material constraints.  Despite the fact that it was made of stone, it moved, its wings beat, its drapery flapped.  Sweeping yet precise.  Grand and delicate.  The mastery of this sculpture was most justifiably celebrated. 

In this damaged and incomplete form, one felt in the presence of divinity.








In contrast to that sculpture's monumentality, my second choice seemed quite fragile and humble.  But that was quite deceptive.  This self portrait by the great German painter Albrecht Dürer, dated 1491, though small in dimensions, was a window into a vast world and time.  The classical pose, haunting gaze, the faithfulness of  and melancholic and timeless air of the portrait, gave this intimate, somewhat narcissistic self-imagery a sense of encompassing the entire human history.

I was mostly drawn by the haunting beauty of this portraiture and the assured yet incredibly melancholic gaze of the sitter, who held the true and pitied us for the exclusion.  Was he the judge of the folly of mankind?

I had set myself up with the impossible task of choosing only two favorite works from any institutions, even as vast as the Louvre.  Yet, these two clearly deserved their exalted status.




My Favorite Museum Collection Series

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List of My Favorite Artworks in the Museums I've Visited

Stories Behind My Paintings - The Triumph of St. George

Many times, I was asked about how I came to the concept of a painting project and what else influenced my decisions on color palette, composition, etc.

It is often very difficult to summarize the process, the understanding of which can be very helpful to understand a work, therefore I decide to start to write about my works, to help the understanding of my work and process, despite the fact that my paintings don't have multiple layers of meanings and depth of masters.



The first of this series will be about The Triumph of St. George (Oil on Canvas, 48" x 30", Completed in 2003), whose conception was formed during the drumming up of invading Iraq in the late 2002 through early 2003. It has been widely observed that harsh and difficult environments foster artworks of great depth and humanity. I cannot pretend that the St. George painting reached such height, but it is during the period I was most productive and my works were most satisfying.

During the period, I felt very frustrated and angry and helpless, due to the political situation and I started to channel my feelings towards creation. I never doubted the military might of the US therefore I didn't hesitate to predict the adventure a "triumph". Yet, I also foresaw the huge costs inflicted upon the poor Iraqi people, a la Yugoslavia or worse. I imaged the the dead bodies piled up, like the images of The Monolith (Monolitten), Vigeland Sculpture Park, Oslo. I also imaged the burning oil fields, bombed out buildings, represented by mushroom clouds and iconic Hiroshima Memorial in the background. I tried to faithfully reproduce the smug smile of George W. Bush and in a nod to reality, I recognized that his opponent was a monster itself. I let George stood high on the pile of limb-tree, carrying a flag of Saint George I borrowed from work by Albrecht Dürer, since this war was undeniably injected with certain Christian fervor.

Thus I preserved my private thoughts about the event and commenced my Apocalypse Series of paintings, to commemorate the human miseries.



Durer - Saint George Ref: DUA007 The Paumgärtner Altarpiece: St George (Left Panel) Albrecht Dürer, c.1498-1504


The Monolith (Monolitten), Vigeland Sculpture Park, Oslo