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By Jane Campbell Hutchison

Hutchison's booklet is a whole consultant on Durer and the study on his paintings, his old import and his aesthetic legacy.

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Dürers Verwandlung in der Skulptur zwischen Renaissance und Barock, Frankfurt am Main: Liebighaus Museum alter Plastik, 1981. An international loan exhibition of the greatest importance, devoted to the “Dürer-Renaissance” in sculpture, with loans from the Netherlands, Belgium, England, Switzerland, Austria, France, Sweden, Liechtenstein, and the United States, as well as from thirty-two German museums. In addition to the scholarly entries on the 202 objects exhibited, there are essays by Decker on the problem of the forgeries, as opposed to the products of the Dürer-Renaissance.

He traced the artist’s route on his bachelor’s journey via Colmar, Freiburg, Breisach, to the Bodensee, and from there via Konstanz to Basel. He rejected the Munich Young Man (1500) and the Paris Young Woman of the Fürleger Family. 29. Anzelewsky, Fedja, and Hans Mielke. Albrecht Dürer. Kritischer Katalog der Zeichnungen, Berlin: Staatliche Museen Preussischer Kulturbesitz, 1984. Scholarly catalogue of the 122 drawings and watercolors by the artist that are in the Berlin print room. Notable watercolors include one of the views of Kalkreuth and the Wire-Drawing Mill at Nuremberg.

Developed from the conference, Engraving Before Dürer, held at the Goethe Institute in Paris in 1982. Discusses the work of Wolfgang Beurer (whom some equate with the Housebook Master and/or the Master WB); Anton Beurer; Lorenz Katzheimer (who may or may not have been the engraver LCz); Master WB; and the Master of the Herpin Manuscript. 26. ——. ” Jahrbuch der Berliner Museen 28 (1986):67–73. Discusses a privately owned and previously unpublished drawing by Dürer. Done in brown ink, it depicts a warrior in fantastic armor (recto), and a sketch of two figures (verso).

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