Melencolia I (1514)

Technique: Giclée quality print
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More about this artwork

Albrecht Dürer's engraving, "Melencolia I," crafted in 1514, is a masterful exploration of the theme of melancholy. Renowned for its intricate detail and symbolic depth, this work adds a profound dimension to the traditional portrayals of human emotions.The central figure in the composition is an angelic being, who sits enveloped in a reflective, sorrowful state. This figure embodies the concept of melancholy, traditionally associated with creative and intellectual types during the Renaissance. Surrounded by tools and objects that symbolize various aspects of human endeavor and thought—including a geometric solid, a ladder, an hourglass, scales, and a magic square—the scene is dense with allegorical references. The tools, while representative of craftsmanship and scientific pursuit, lay unused, emphasizing a pause in productivity that melancholy might bring.The despondent mood is further accented by a dimly lit background and the resting tools, suggesting a stagnation of work and creativity. To the upper left, a radiant comet and a bat carrying a banner with the inscription "MELENCOLIA I" suggest celestial or otherworldly influences on human dispositions. A small, cherub-like figure trying to solve a problem on a slate and a forlorn dog add to the atmosphere of brooding introspection."Melencolia I" captures a moment of intellectual struggle and the heavy solitude that can accompany deep contemplation.

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Christian paintings, woodcuts and landscapes by the German Renaissance master Albrecht Dürer (1471-1528). Dürer's pieces on Christian themes and allegory are considered to be the finest examples of the Northern Renaissance. One of Dürer's most famous works on Christ is his "Crucifixion" woodcut (1503). The piece demonstrates Dürer's mastery of the medium and deep understanding of Christian symbolism. The work depicts the crucifixion of Christ in a powerful and realistic manner, with an emphasis on the suffering and sacrifice of Christ. Dürer began his career as an apprentice in Nuremberg to the master craftsman Michael Wolgemut. He later became the founding member of the city's painters' guild and was an active member of humanist circles prominent in Nuremberg at the time.