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Saint Jerome is an embodiment of Christian intellectualism. He translated the Bible from the Greek and Hebrew into Latin, creating a version of the Bible that was definitive for a long time: the Vulgate. Dürer’s master engraving lent enduring form to the idea of the learned saint. With its composed calm, it outlasted the vehement conflicts of faith and pictorial battles of the age of the Reformation.

Details

  • Title: Saint Jerome in his Study
  • Creator: Albrecht Dürer
  • Date Created: 1514
  • Physical Dimensions: 24.9 × 18.9 cm
  • Technique and Material: Copperplate engraving
  • Provenance: Acquired from a private collection, USA, in 2012
  • Museum: Los Angeles County Museum of Art, Gift of the 2012 Collectors Committee, with additional funds provided by the Prints and Drawings Council and Philippa Calnan
  • Inv.-No.: M.2012.31
  • External Link: http://www.lacma.org/
  • Copyright: Photo © Los Angeles County Museum of Art; Text © Renaissance and Reformation: German Art in the Age of Dürer and Cranach, A Cooperation of the Los Angeles County Museum of Art, the Staatliche Museen zu Berlin, the Staatliche Kunstsammlungen Dresden, and the Bayerische Staatsgemäldesammlungen München, Catalogue of the Exhibition at the Los Angeles County Museum of Art, Nov 20, 2016 – March 26, 2017, Munich: Prestel, 2016; cat. no. 27 / Michael Roth
  • Catalogue: https://prestelpublishing.randomhouse.de/book/Renaissance-and-Reformation/Stephanie-Buck/Prestel-com/e504919.rhd
  • Artist Dates: 1471 Nuremberg–1528 Nuremberg
  • Artist Biography: Dürer, who initially trained in his father’s goldsmith workshop, apprenticed to the painter Michael Wolgemut from 1486. His travels as a journeyman from 1490 to 1495 took him to the Upper Rhine and northern Italy, to which he returned a second time in 1505–7 (his stay in Venice). In 1520 he traveled to the Netherlands. Dürer’s prints, his most important source of income, made him famous throughout Europe, and the monogram AD became a seal of quality. His abundant production of paintings included altarpieces, portraits (especially of the patricians of Nuremberg), and self-portraits, among other works. Emperor Maximilian I entrusted important commissions to Dürer’s workshop, where Hans Baldung, the Beham brothers, and Hans Schäufelein were working. Dürer, who was in constant contact with important humanists, also wrote on issues of art theory, especially the theory of proportion. He was regarded as an Homo universalis (Renaissance man) already during his lifetime.

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