We are left then with the disconcerting proposition that not only was a man, a mere mortal human being, capable of drawing such a perfect set of lines, but that someone - possibly Dürer or possibly an assistant, I understand there’s dispute - was capable of translating those infinitely fragile lines onto a flat carving. Crinoline wasn’t invented yet but you want to use the word anyway. You can hear the rustle of her dress as she slouches. Such a subtle set of lines to communicate the illusion of curvature, mass and texture. Even moreso than the cheek - itself remarkable - it’s her girdle line that truly impresses.

But a human figure, irregular and curving, and turned away from the viewer at a 3/4 profile? Twisted slightly, no less, hunched over with the weight of her elbow on her knee? Wrapped in a voluminous gown that obscures almost all of her figure, yet held tight by a stiff girdle visibly pinching her waist? In artist’s parlance, that’s called “showing off.” Again, just look at that waistline. Anyone can draw a sphere, and with a little bit of practice anyone can figure out how to shade a sphere relative to the direction of a light source. With just a handful of lines on a flat plane the artist can simulate the curvature of the human body. What draws your eye? For me, it’s her waistband. What that means in practical terms is that after all the preliminary sketches and drafts were completed the final version was carved into a block of wood with a knife and chisel, resulting in a form we would recognize as very similar to a photo negative. Melancolia I was a wood print, carved for use in early printing presses. What are we looking at? Well, on first glance we’re looking at a drawing, but we’re really not. You can almost hear the dissatisfied groan escaping her lips as she pouts, eyes glazed and fixed on the middle distance. Perhaps she’s a muse? The geometer’s shapes and the artist’s tools have been cast aside, all of the customary distractions meant for idle hours of self improvement, along with familiar evocations of peace (the lamb), justice (scales), and time (hourglass). The winged figure is unmoved, surrounded by symbols of learning and culture. It’s a recognizable human emotion despite the classical framing. She looks to me as much annoyed as anything else, impatient. How about Melancolia I (1514)? If you haven’t seen it in a while, it’s the one with the winged woman sulking in a pile of symbols, her expression purportedly difficult to parse.

Scan the wiki five minutes before class like a normal person.Īnyway. Oh, gosh, I hear you say, shuffling your feet, clutching your felt cap in your hand, I didn’t know there was gonna be homework. Perhaps we shall begin with Albrecht Dürer? Digital image provided by The Metropolitan Museum of Art.

Tegan O'Neil | AugMelencolia I, Albrecht Dürer 1514. Features As If By Chisel: Barry Windsor-Smith’s Monsters

Windsor smith monsters