St. Jerome in His Study Albrecht Dürer (German, 1471-1528). St. Jerome in His Study, 1515. Engraving on laid paper, 9 5/8 x 7 1/4 in. ( x cm). Saint Jerome in His Study is one of Albrecht Dürer’s three so-called master engravings, along with Knight, Death, and the Devil and Melencolia I, on view nearby. Each image emerges from the paper with extraordinary clarity, with different textures and minute gradations of light and shadow conjured from a careful, dense arrangement of inked marks and lines. Dürer’s contemporary, the scholar Erasmus of Rotterdam, praised the artist’s graphic bri
St. Jerome in His Study Albrecht Dürer (German, 1471-1528). St. Jerome in His Study, 1515. Engraving on laid paper, 9 5/8 x 7 1/4 in. ( x cm). Saint Jerome in His Study is one of Albrecht Dürer’s three so-called master engravings, along with Knight, Death, and the Devil and Melencolia I, on view nearby. Each image emerges from the paper with extraordinary clarity, with different textures and minute gradations of light and shadow conjured from a careful, dense arrangement of inked marks and lines. Dürer’s contemporary, the scholar Erasmus of Rotterdam, praised the artist’s graphic brilliance, stating that he “could express absolutely anything in monochrome, that is with black lines only—shadows, light, reflections, emerging and receding forms.” Like the Evangelists in Simon Bening’s nearby illuminations, Saint Jerome here appears at work in a cozy study rendered in careful perspective. The crucifix is a symbol of his faith, and the bishop’s hat and the hourglass hung from pegs allude to worldly life. Jerome’s tame lion dozes side by side with his dog. The skull on the sill is a symbol of mortality, while the large gourd suspended from the ceiling references the promise of resurrection. Rays of light passing through the bull’s-eye windows cast delicate shadows on the wall and floor, creating an atmosphere of harmony and light that evokes the contemplative life of the scholar. Titus Kaphar: This one is much more .You can enter it. There’s rest. There are these elements in the space, but they’re more a part of the space. They’re part of the narrative, directly. This feels like there may very well have been a model sitting there in the studio. This is an actual space, and [Dürer] sat down and drew him. Then added these other sort of fanciful elements, but that feels like a real space. You get down to the knots, the specificity of the knots and the grains of the wood here, or the particular way that the light is passing th
Size: 1992px × 2510px
Photo credit: © BBM / Alamy / Afripics
License: Licensed
Model Released: No
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