Triumphal Arch (woodcut)
The Triumphal Arch (also known as the Arch of Maximilian I,
Very large multi-sheet prints designed to decorate walls were a feature of the early 16th century, although their use in this way means their survival rate is exceptionally low. The prints were intended to be hand-colored, but only two sets of impressions from the first edition survive with contemporary coloring (held in Berlin and Prague).[2]
Design and execution
The architectural form of the arch was designed by
The design includes three arches: the central arch is entitled "Honour and Might", the left arch is "Praise", and the right arch is "Nobility". Each arch is illustrated with scenes relating to Maximilian, including a
Patron
Emperor Maximilian, as patron of the Triumphal Arch, commissioned this almost twelve-foot-tall print. He wanted to commemorate his military conquests, generosity, and nobility.[3] The Triumphal Arch, along with the Triumphal Procession and Large Triumphal Carriage, is one of three very large prints representing Emperor Maximilian I’s triumphs. The illustrations, designed between 1516 and 1518, were largely the work of Hans Burgkmair (German, Augsburg 1473–1531 Augsburg), with contributions by Albrecht Altdorfer (German, Regensburg ca. 1480–1538 Regensburg), Hans Springinklee (German, ca. 1495–after 1522), Albrecht Dürer (German, Nuremberg 1471–1528 Nuremberg), Leonhard Beck (German, 1480–1542), and Hans Schäufelen (German, Nuremberg ca. 1480–ca. 1540 Nördlingen). Only the Triumphal Arch was completed before Maximilian's death in 1519. It reflects Maximilian's position as Holy Roman Emperor and links him to the triumphal arches and triumphs of Ancient Rome Albrecht Dürer, a painter, draftsman, and writer, known for his highly elaborate woodcuts designed 192 of the woodblocks.[4] Albrecht Dürer's ambition, talent, and wide-ranged intellect earned him the recognition of some of the most prominent figures like Maximilian I (and successor Charles V).[5] Dürer apprenticed with his father (a goldsmith) and Michael Wolgemut (a painter), who produced woodcuts for written text and publications.[5] Emperor Maximilian I recognized Dürer's creativity and that his success was only going to increase, making him an appropriate choice for such an important project.[5]
Historical context
The earliest and most imposing uses of the triumphal arch motif in Renaissance art begun in 1462 with Leon Battista Alberti’s Basilica of Sant’Andrea in Mantua. In Imperial Rome, triumphal arches were a common way to honor the emperors. In later centuries, triumphal arches inspired imitations worldwide like Arc de Triomphe and Arc du Carrousel in Paris, the Wellington Arch and Marble Arch in London, and the Siegestor in Munich. Freestanding Roman arches also serve as design resources in the Renaissance and later. Primary models either have single-arch or triple-arch form with inscription panels.[6]
The Triumphal Arch was one of the largest prints ever produced (295 × 357 centimeters or 116 × 141 in) and was intended to be distributed as propaganda and to be put on display in magnificent public areas. The pictorial composition of multiple scenes was established by Andrea Mantegna. This technique became the standard for architrave-like designs that depicted triumphs and battles.[7] The display history of this monumental print demonstrates that Maximilian recognized the potential of woodcuts as a vehicle for conversations about politics.
Wall mounting consisted of sealing wax, tacks, or direct adhesion, similar to 15th- and 16th-century paintings.[7] All of the prints for Emperor Maximillian I were intended to be hand-colored. Still, only two sets of the impressions from the first edition were able to survive throughout centuries.
Iconography and design elements
The design includes three arches: the central arch is entitled "Honour and Might", the left arch is "Praise", and the right arch is "Nobility". Each arch is illustrated with scenes relating to Maximilian, including a
To the left are busts of emperors and kings, including Julius Caesar and Alexander the Great, and to the right are Maximilian's ancestors. Towers to each side show scenes from Maximilian's private life. Towards the lower right is a line of three shields showing the coats of arms of Stabius, Kölderer, and Dürer. Many panels contain a descriptive text, and a long inscription at the bottom describes the whole. The design includes elements of Egyptian hieroglyphs, influenced by Willibald Pirckheimer's 1514 translation of the Hieroglyphica by Roman author Horapollo.
Execution
The print is dated 1515 on two blocks, indicating when the designs were completed (save for the 24th historical block – intended to show Maximilian's tomb – which remained blank). The print was given by Maximilian as gifts, mostly to the cities and princes of the Holy Roman Empire.
The Triumphal Arch is three meters high, made of 195 woodblocks. Durer worked on the middle gateway (not including the genealogical tree, coats of arms, and cupola), middle columns with ornamental statues, ornamental portions, round tower scene, the historical scenes (2nd, 15th, 22nd, and 23rd), three figures in the genealogical tree, and the busts of six emperors. The cutting of woodblocks was completed between 1515 and 1517 by
Distribution
Examples of the first edition include those in the
The second edition of about 300 was authorized by
171 of the 195 original woodblocks survive and are held by the
See also
References
- ^ a b c Bartrum, (1995), 51
- ^ Bartrum, (2002), 138
- ^ "The Triumphal Arch of Maximilian I: Emperor Maximilian as Patron of Improvements in Artillery and Armor".
- ^ "The Triumphal Arch of Emperor Maximilian I (1515)". The Public Domain Review. Retrieved 2020-10-13.
- ^ a b c Wisse, Jacob (October 2002). "Albrecht Dürer (1471–1528)". www.metmuseum.org. Retrieved 2020-11-03.
- ^ "The Triumphal Arch as a Design Resource". www.classicist.org. Retrieved 2020-11-16.
- ^ , retrieved 2020-10-12
- ^ a b "British Museum - Albrecht Dürer and others, The Triumphal Arch, woodcut". 2015-02-24. Archived from the original on 2015-02-24. Retrieved 2020-10-12.
- ^ Kurth, Willi. The Complete Woodcuts of Albrecht Dürer. New York: Arden Book Co. pp. 33–34.
- ^ Bartrum, (1995), 53
Notes
Bibliograph
- ISBN 0-7141-2633-0
- ISBN 0-7141-2604-7
- Kurth, Willi & C. Dodgson, The complete woodcuts of Albrecht Dürer, Courier Dover Publications, 1963, ISBN 0-486-21097-9
- The Triumphal Arch of Emperor Maxmilian I, Metropolitan Museum of Art
- Albrecht Dürer and others, The Triumphal Arch, woodcut from the British Museum
- Stiber, Linda S., Elmer Eusman & Sylvia Albro, "The Triumphal Arch and the Large Triumphal Carriage of Maximilian I: Two oversized, multi-block, 16th-century Woodcuts from the Studio of Albrecht Durer", The American Institute for Conservation, The Book and Paper Group Annual, Vol. 14, 1995
- http://www.albrechtdurer.org/woodcuts/ from www.AlbrechtDurer.org, 2019
- https://www.clevelandart.org/art/1925.466 from Clevelandart.org, 2020
- https://publicdomainreview.org/collection/the-triumphal-arch-of-emperor-maximilian-i-1515 from The Public Domain Review, 2020
Further reading
- Grand Scale: Monumental Prints in the Age of Dürer and Titian: Monumental Prints in the Age of Durer and Titian, 2008, Larry Silver and Elizabeth Wyckoff
External links
- The Triumphal Arch, British Museum. Good zoomable images
- text in Russian but many images
- One night at the Museum: moving Dürer's paper triumph, Joanna Kosek, conservator, British Museum
- Restoring Albrecht Dürer's masterpiece The Arch of Honour of Maximilian I., National Gallery of Denmark