Focusing on the ways his art and persona were valued and criticized by writers, collectors, and artists subsequent to his death, this book examines the reception of the works of Albrecht Duerer. Andrea Bubenik's analysis highlights the intensive and international interest in Duerer's art and personality, and his developing role as a paragon in art historiography, in conjunction with the proliferation of portraits after his likeness. The author traces carefully how Duerer's paintings, prints, drawings and theoretical writings traveled widely, and were appropriated into new contexts and charged with different meanings. Drawing on inventories and correspondences and taking collecting practices into account, Bubenik establishes who owned what by Duerer in the 16th and 17th centuries, and characterizes the key locations where interest in Duerer peaked (especially the courts of Maximilian I in Munich, and Rudolf II in Prague). Bubenik treats the emergent artistic appropriations of Duerer-borrowings from or transformations of his originals-in conjunction with contemporary sources on art theory. The volume includes illustrations of numerous imitative works after Duerer. As well as being the first book to fully address the early reception of the most important of German Renaissance artists, Reframing Albrecht Duerer shows how appropriation is a crucial concept for understanding artistic practice during the early modern period.
Industry Reviews
A Yankee Book Peddler US Core Title for 2013 '... thoroughly researched, well organized, and performs an important function in incorporating information from the latest publications, as well as from earlier ones by Czech and Polish scholars difficult of access. Bubenik relates the whole to modern reception theory in convincing fashion.' Jane Campbell Hutchison, University of Wisconsin-Madison, Emerita '... begins with a rehearsal of Durer's historiography, and then reviews the artists, images, and collectors who responded to Durer in the period immediately following his death. The strength of the book is its codification of Durer's reception.' Renaissance Quarterly '... this book demonstrates the absolute relevance of contemporary reception theory in our understanding of the early modern, as well as the absolute relevance of Durer in contemporary debates on the role of the artist as a practitioner and as an authority, at the intersection between the production and reception of images and knowledge.' Parergon 'It is in regard to the collecting of Durer's art, its transference from site to site, and the control of its documentation by its owners that Andrea Bubenik's book makes an important contribution to the study of the reception of Durer's work.' CAA Reviews 'This book really engages with Durer's legacy, what the Germans call Rezeption, or the afterlife of his images, particularly around the turn of the seventeenth century. The author ... has immersed herself in the collecting of the great Nuremberg artist's work in the century-and-a-half following his death.' The Sixteenth Century Journal 'Bubenik's ambitious work is certainly a welcome addition in that it brings together numerous important sources and works of art, thus constituting a valuable starting point for any research on the subject.' Print Quarterly 'Bubenik's book ... is essentially an introduction to Durer's fame up to 1700 in Central Europe ... [it is] successful in drawing the main lines and capturing the essence of this phenomenon.' Burlington Magazine 'What the author presents to us is ... not an exercise in attributing, but an attempt to come to terms with a phenomenon that is without parallel in the history of European art ... It is an attempt that is highly successful. In short: Thanks to the book by Andrea Bubenik, Albrecht Durer has been successfully reframed!' Umeni Art