Das berühmteste Bild eines Rhinozeros ist Albrecht Dürers Holzschnitt. Es war die Sensation im Jahr das erste lebende Nashorn in Europa in einer Zeit. Nicht nur als Maler und Zeichner, auch als Druckgrafiker gehört Albrecht Dürer zu den bedeutendsten deutschen Künstlern der Renaissance. Der Holzschnitt. Entdecken Sie das Werk von Albrecht Dürer auf der Website der Kunsthalle Karlsruhe.
Rhinocerus (Das Rhinozeros)Albrecht Dürer schuf noch im selben Jahr in Nürnberg anhand von Skizzen und Beschreibungen seinen weltberühmten Holzschnitt des Rhinozeros, das. Das berühmteste Bild eines Rhinozeros ist Albrecht Dürers Holzschnitt. Es war die Sensation im Jahr das erste lebende Nashorn in Europa in einer Zeit. Dieser Artikel beschreibt ein Kunstwerk von Albrecht Dürer. Zu den Rhinozeros genannten Tieren.
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Das Dürer-Nashorn ist auch in Wandteppichen des Kronborg-Schlosses oder in der Tür des Doms von Pisa zu sehen.
Selbst nach der Fertigstellung des Ölgemäldes von Jean-Baptiste Oudry aus dem Jahr , das das Nashorn Clara zeigt, verlor der Stich von Dürer nicht an Beliebtheit.
Auch in den vergangenen Jahrhunderten wurde Dürers Arbeit vielfach reproduziert und auf verschiedene Arten neuinterpretiert.
Home Grafik Wie das Rhinozeros im Lenny Albrecht Dürer. Veröffentlicht: 04 Jan. Januar Wie ein Nashorn nach Europa gelangte Während Handels- und Frachtschiffe die Meere und Ozeane beherrschten, war es im Laufe des sechzehnten Jahrhunderts sehr üblich, diese Kähne gefüllt mit Pflanzen, Gewürzen und exotischen Tieren zu beladen.
Emblem von Alessandro de Medici. This is an accurate representation. It is the colour of a speckled tortoise,  and is almost entirely covered with thick scales.
It is the size of an elephant but has shorter legs and is almost invulnerable. It has a strong pointed horn on the tip of its nose, which it sharpens on stones.
It is the mortal enemy of the elephant. The elephant is afraid of the rhinoceros, for, when they meet, the rhinoceros charges with its head between its front legs and rips open the elephant's stomach, against which the elephant is unable to defend itself.
The rhinoceros is so well-armed that the elephant cannot harm it. It is said that the rhinoceros is fast, impetuous and cunning. Dürer's woodcut is not an accurate representation of a rhinoceros.
He depicts an animal with hard plates that cover its body like sheets of armour , with a gorget at the throat, a solid-looking breastplate , and rivets along the seams.
None of these features is present in a real rhinoceros. This may be Dürer's attempt to reflect the rough and almost hairless hide of the Indian rhinoceros, which has wart-like bumps covering its upper legs and shoulders.
On the other hand, his depiction of the texture may represent dermatitis induced by the rhinoceros' close confinement during the four-month journey by ship from India to Portugal.
A second woodcut was executed by Hans Burgkmair in Augsburg around the same time as Dürer's in Nuremberg. Burgkmair corresponded with merchants in Lisbon and Nuremberg, but it is not clear whether he had access to a letter or sketch as Dürer did, perhaps even Dürer's sources, or saw the animal himself in Portugal.
Only one impression example of Burgkmair's image has survived,  whereas Dürer's print survives in many impressions.
Dürer produced a first edition of his woodcut in , in the first state , which is distinguished by only five lines of text in the heading.
The block passed into the hands of the Amsterdam printer and cartographer Willem Janssen also called Willem Blaeu amongst other names.
By this time the block was very damaged; the border lines were chipped, there were numerous woodworm holes and a pronounced crack had developed through the rhino's legs.
Despite its errors, the image remained very popular,  and was taken to be an accurate representation of a rhinoceros until the late 18th century.
Dürer may have anticipated this and deliberately chosen to create a woodcut, rather than a more refined and detailed engraving , as this was cheaper to produce and more copies could be printed.
A rhinoceros that was clearly based on Dürer's woodcut was chosen by Alessandro de' Medici as his emblem in June , with the motto "Non vuelvo sin vencer" old Spanish for "I shall not return without victory".
The popularity of the inaccurate Dürer image remained undiminished despite an Indian rhinoceros spending eight years in Madrid from to although a few examples of a print of the Madrid rhinoceros sketched by Philippe Galle in Antwerp in , and derivative works, have survived , and the exhibition of a live rhinoceros in London a century later, from —86, and of a second individual after The pre-eminent position of Dürer's image and its derivatives declined from the mid-to-lateth century when more live rhinoceroses were transported to Europe, shown to the curious public, and depicted in more accurate representations.
Jean-Baptiste Oudry painted a life-size portrait of Clara the rhinoceros in , and George Stubbs painted a large portrait of a rhinoceros in London around Both of these paintings were more accurate than Dürer's woodcut, and a more realistic conception of the rhinoceros gradually started to displace Dürer's image in the public imagination.
In particular, Oudry's painting was the inspiration for a plate in Buffon 's encyclopedic Histoire naturelle , which was widely copied.
Even so, Bruce's own illustration of the African white rhinoceros , which is noticeably different in appearance to the Indian rhinoceros, still shares conspicuous inaccuracies with Dürer's work.
Until the late s, Dürer's image appeared in school textbooks in Germany as a faithful image of the rhinoceros;  and it remains a powerful artistic influence.
Although very popular, few prints have survived and impressions of the first edition are very rare. From Wikipedia, the free encyclopedia.
The Rhinoceros Junius Spencer Morgan; Donor: Junius Spencer Morgan American. The Metropolitan Museum of Art.
Arthur M. Sackler Gallery, Smithsonian Institution. New York. Hollstein German Engravings, Etchings and Woodcuts, ca.
Amsterdam, Rainer Schoch, Matthias Mende, Anna Scherbaum Albrecht Dürer, Das druckgraphische Werk. The Rhinoceros, which must have seemed like a mythical beast to those that viewed it first in Lisbon, would have been a potent symbol of that exotic, untamed, outside world to which Europe was bringing order and enlightenment.
His decision to issue the image as a woodcut made it accessible to many more people eager to experience something of that excitement.
Today -. Rhinoceros Buy Albrecht Durer Prints Now from Amazon.Ergänzt um niederländischen Text, Abdruck ca. von Henrik Hondius, Den Haag. Rainer Schoch, Matthias Mende, Anna Scherbaum Albrecht Dürer, Das druckgraphische Werk. Prestel, Vol. , Munich; London; New York, – API Access. The Met Collection API is where all makers, creators, researchers, and dreamers can now connect to the most up-to-date data and images for more than , artworks in The Met collection. Das Albrecht Dürer Rhinozeros ist ein bedeutender Holzschnitt aus dem Jahr Die Darstellung wurde zu einer Ikone der frühen naturalistischen Darstellungsweise und inspirierte viele Künstler bis heute. In diesem Artikel erfährst du, wie das Nashorn nach Europa gelangte, wie Albrecht Dürer davon erfuhr und schließlich, wieso die.