[9] The engraving draws from Psalm 23; “Though I walk through the valley of the shadow of death, I will fear no evil”. Some say it depicts the virtuous soldier in Erasmus of Rotterdam’s 1504 Handbook of the Christian Soldier. The discomfited marshals forthwith abandoned Lombardy, with the loss of their cannon and more than half their army; and the duchy of Milan, with the exception of two or three fortresses, was again lost to France in a shorter space than it had taken to regain it. This is the first of Dürer’s famous so-called ‘Master Prints’. These two central figures are surrounded by a tangled mass of branches, harness and hair, which according to art historian Raymond Stites contrast with the relatively solid figure of the knight and his horse to set them as a “tangible idea in a world of changing forms”. Moreover, the fox tail was a common form of protective amulet. Information about image downloads and licensing is available here. Knight, Death and the Devil Artist Albrecht Dürer Year 1513 Medium Copper engraving Location Multiple museum collections Dimensions 9.6 in × 7.5 in 24.5 cm × 19.1 cm Famous Paintings by Albrecht Dürer Young Hare Rhinoceros Adam and Eve Praying Hands Knight, Death and the Devil Apocalypse Self-Portrait of Albrecht Dürer Melencolia I Adoration of Instead it reaches back to a medieval sense of morality, and is replete with Gothic imagery. SC003728), Remaking our histories | Scotland, Slavery and Empire. It was widely copied and had a large influence on later German writers. Dürer sent “Margarthe” (the Regent Margaret, Emperor Maximillian’s daughter-the actual ruler of the realm and warden of the underage Emperor Charles V) all of his prints. This is a strange factoid if Dürer considered this print to be of tremendous value to him. Thank you Sorin for your comment. Dürer's Knight, Death, and the Devil is one of three large prints of 1513–14 known as his Meisterstiche (master engravings). This figure has a single horn, two side curly horns under the ears, a prominent protuberance on it’s head, very porcine features, and carries a pike weapon. It is NOT Death per se, although the Knight would have considered this figure as “Death”, for  “Death” is the arch enemy of the Knight. This engraving is titled "The Knight, Death, and the Devil". One of the other main benefits of engraving were the numerous impressions that could be made from one plate. The horse on which Death sits is bowed, inviting the viewer to follow its gaze to the bottom left corner of the composition, where there is a skull, and a sign containing Dürer’s signature and the date of this engraving (1513). (=Salus/in the year of grace) 1513.” In contrast, Ursula Meyer believes that the knight displayed in this print is not a Christian knight at all, but araubritter, or a “robber knight.” She insists that the iconography of the fox tail symbolizes the greed of the knight, and that Death and the Devil are merely the knight’s companions on his journey, not omens. This was the standard German way of indicating that the hunt was successful-tying oak leaf clusters to the head and tail of the horse. I find his attention to detail spectacular and interesting. The man is shown looking doggedly straight ahead, he does not allow his line of vision be interrupted or distracted by the demons beside him. Knight, Death and the Devil is dated and signed by the artist; the bottom left of the tablet is scribed “S. 245 × 190 mm (image/plate); 253 × 197 mm (sheet). You will be able to seamlessly ‘Favourite’ images and download large images for personal use. The work was significant to Nietzsche as a representation of a “brave future” and as such he gifted a copy to his sister on the eve of her emigration to Paraguay. Wisse, Jacob. Religious devotion is the leading interpretation of the Knight, Death and Devil. In this print, Knight, Death, and Devil, a full armoured knight on horseback strides forwards through a rocky landscape. Death, the Devil, and the landscape are all rendered in a bleakly northern manner. Please consider making a donation, joining our Friends or giving a Friends membership for Christmas. New York: The Metropolitan Museum of Art, 2000–. According to writer Dorothy Getlein, “there is a sense of obsolescence about the knight accompanied by Death and the Devil.” New York Times journalist Holland Cotter notes that the composition followed soon after Dürer’s beloved mother died a painful death. 15 Sept. 2016. Although these works are not a series as such, scholars have attempted to link the trio together, seeing them as representing moral, theological and intellectual pursuits respectively. It was also named after the first Battle of the Spurs, which was fought in 1302 near Courtrai, Belgium, between the rebellious Flemish towns, led by Bruges, and an army sent by Philip IV of France, who had annexed Flanders in 1301. All agree that the copper engraving is technically stunning, but the interpretation of the Rider has been and continues to be greatly debated. Although Albrecht Dürer’s “Knight, Death, and the Devil” has been acclaimed as one of Europe’s greatest masterwork engravings since its publication in 1513, it has also been one of the most provocative pieces of art in the past We will show that the “5” on the dial is actually representing the number “12,” which, along with the noseless feature, the eel, and the crown, identifies exactly who this figure is. The other two are Melancholia I and Saint Jerome in His Study. second we have the man creature on his left, which is Death, and his hourglass is supposed to represent the time he has left. The enemies of France decided to make simultaneous demonstrations against her from various quarters. Dürer was also the official court artist to two Holy Roman Emperors in Nuremberg, which was the center of humanism and the first to accept the reformation. [1] William Martin Conway, Tr. December 2016, Dürer made a great impact on European art through his outstanding skills as a draughtsman and printmaker. No, it would not be 10 am, this information about time telling comes from authoritative scholarship done by Gerald Strauss, Nuremberg in the Sixteenth Century, THE SECRETS OF KNIGHT DEATH AND THE THE DEVIL -DER REUTER-PART I, THE SECRETS OF KNIGHT DEATH AND THE DEVIL-DER REUTER-PART II. His body is adorned with horns and other grotesque appendages and his eyes are wide-opened, transfixed on the knight riding before him. I think that Durer was very talented and found some information about his impressive contribution to literature as well. The work was mentioned by Vasari as one of “several sheets of such excellence that nothing finer can be achieved”. It’s a regular hunting dog. The redoubtable French gendarmerie was for the first time completely broken, and fled from the field in irretrievable disorder. Victory is already a foregone conclusion. The print called Knight, Death and the Devil by art historians was named by Dürer himself as “Der Reuter”-the Rider and created and dated in 1513.

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