Passages in the library’s own holdings that name this maker. The model ranked them; nobody has checked that the name means this person.

1. Vision and Design · Roger Fry

   Drawing still retained something of the blunt, almost brutal frankness of statement, together with the sense of the characteristic which marked its earlier period. And it is perhaps this inheritance of Gothic directness of statement, this Gothic realism, that accounts for what is ultimately of most value in Dürer’s work. There exists in the Kunsthistorisches Akademie at Vienna a painting of a man, dated 1394, which shows how much of Dürer’s portraiture was already implicit in the Nuremberg school. In this remarkable work, executed, if we may trust the date, …

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2. Vision and Design · Roger Fry

   What, then, lies at the root of Dürer’s art is this Gothic sense of the characteristic, already menaced by the professional bravura of the late Gothic craftsman. The superstructure is what Dürer’s industry and intellectual acquisitiveness, acting in the peculiar conditions of his day, brought forth. It is in short what distinguishes him as the pioneer of the Renaissance in Germany. This new endeavour was in two directions, one due mainly to the trend of native ideas, the other to Italian influence. The former was concerned mainly with a new …

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3. The Bases of Design · Walter Crane

   Up to the end of the fifteenth century the Gothic and ornamental feeling is still dominant in the treatment of the design of woodcuts in books, and most instructive and suggestive they are in simplicity of method and line, and directness of expression. Characteristic German work of Gothic feeling and considerable graphic force is seen in the woodcuts of the Nuremberg Chronicle (1493) designed by Michael Wolgemuth, the master of Albert Dürer. In these vigorous cuts we may plainly see the tradition of that Gothic feeling and style of graphic …

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4. principles of art history · heinrich wolfflin

   Dürer patterns do not coincide with objective facts, but for all that, they are lines, clear, ornamental patterns which are intended to be seen for themselves, which do not merely assert themselves in the impression of the whole but can hold their own even at the closest range. Therein lies the difference from the painterly foliage painting of the seventeenth century. If we wish to speak of premonitions of the painterly style, we shall find them rather in the fifteenth century than in the sixteenth. We find there, indeed, in …

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