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Satyr Seen from Behind
Albrecht Dürerc. 1500
Renaissance and Reformation. German Art in the Age of Dürer and Cranach
The satyr’s powerful torso seems almost too massive for his thin legs. Erwin Panofsky explains this flaw in the drawing by noting that Dürer had not yet begun his studies of proportion when he produced this sheet. The date and Dürer’s authorship have been much debated, but Panofsky dates it to the period around 1500, assuming it is to be attributed to Dürer at all.
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Details
- Title: Satyr Seen from Behind
- Creator: Albrecht Dürer
- Date Created: c. 1500
- Physical Dimensions: 26.2 × 15.6 cm
- Technique and Material: Pen and dark brown ink
- Provenance: Crozat Collection (?), acquired in 1924
- Museum: Staatliche Museen zu Berlin, Kupferstichkabinett
- Inv.-No.: KdZ 11922
- ISIL-No.: DE-MUS-018511
- External Link: http://www.smb.museum/museen-und-einrichtungen/kupferstichkabinett/home.html
- Copyright: Photo © Staatliche Museen zu Berlin, Kupferstichkabinett/ Volker-H. Schneider; 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. 92 / Nadine Söll
- 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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