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The Mentor: Two Early German Painters, Dürer and Holbein, Vol. 1, Num. 48, Serial No. 48 cover

The Mentor: Two Early German Painters, Dürer and Holbein, Vol. 1, Num. 48, Serial No. 48

Chapter 15: DÜRER AND HOLBEIN The Middle Years
By Frank Jewett Mather
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About This Book

A concise study profiles two early German painters, tracing Dürer’s growth from apprentice to master, his exacting craft in engravings and woodcuts, and major themes such as biblical narratives, the Apocalypse, and notable prints like the Knight, Death, and the Devil and Saint Jerome. It explains his technical methods, workshop practices, and the evolution of his portraiture after exposure to Venetian models. Paired with discussion of Holbein’s precise, dignified portraiture and devotional images, the text compares their temperaments, subjects, and means of expression, showing how technique, composition, and attention to character convey moral and scholarly intentions in their art.

DÜRER AND HOLBEIN
The Middle Years

FIVE

In 1517 Holbein left Basel on a journey of two years. No one knows exactly where he traveled. It is said that he did not go to Italy; but others maintain that he must have spent some time there. Anyway, in 1519 he returned to Basel, and in the same year his brother Ambrose died. The next year, 1520, was an important one in the artist’s life. Erasmus returned to Basel, and Holbein became a citizen of the town, and was admitted to the Guild of Painters. Also at this time he married. His wife was a widow with two children. She was some years older than the artist, and seems to have been somewhat of a shrew. It is said that it was her tongue that drove Holbein to England in the summer of 1526. More probably it was the usual desire,—to make more money than he was earning at Basel.

At that time art was having a hard time in Germany. The Reformation—when Luther and his followers broke away from the Roman Church—forced painters to do almost anything for a living. Stained glass designing, furniture decoration, and book illustration made up most of Holbein’s commissions.

It was at this time also that he drew his famous Dance of Death series. These drawings are not dated; but they must have been made sometime before 1527, for in that year the engraver, Hans Lützelberger, who was doing that part of the work, died, leaving his work unfinished. Another wood engraver able to render the action and expression of the little faces could not be found. So for ten years their publication was delayed.

The Dance of Death is a highly moral set of pictures, depicting the work of the great Reaper in all fields of life. In the various pictures Death is shown taking grim satisfaction in the consternation of his victims. Pope, emperor, preacher, nun, rich and poor, young and old, all are unready for his coming. All vainly resist. The artist must have worked hard and carefully over these engravings.

PREPARED BY THE EDITORIAL STAFF OF THE MENTOR ASSOCIATION
ILLUSTRATION FOR THE MENTOR, VOL. 1, No. 48, SERIAL No. 48
COPYRIGHT, 1914, BY THE MENTOR ASSOCIATION, INC.

QUEEN JANE SEYMOUR—Holbein