Distributing Dürer in the Netherlands : gifts, prints, and the mediation of fame in the early sixteenth century”
- Author
- Jaya Remond (UGent)
- Organization
- Abstract
- On 12 July 1520, Albrecht Dürer, accompanied by his wife Agnes, left Nuremberg for Antwerp, to obtain confirmation of his annual pension from Charles V, initially awarded by Maximilian I. In his diary, the artist comes across as a dynamic entrepreneur, eager to circulate his art. Sculptors or painters they may have been, but Renaissance artists in Nuremberg were more often than not also businessmen. Unlike a portrait drawing, which binds the artist to the sitter, the print is more of a free agent, liberated from the constraints of commissions. In the case of drawn portraits, which could be finished in a few hours or in one evening, Dürer often received a standard compensation of about one florin. Dürer was deeply conscious of the financial value of art in general, and of prints in particular. Dürer's generous gift-giving practices paint a grateful and liberal portrait of the artist, as the 'great lord' he longed to be.
Citation
Please use this url to cite or link to this publication: http://hdl.handle.net/1854/LU-8742442
- MLA
- Remond, Jaya. “Distributing Dürer in the Netherlands : Gifts, Prints, and the Mediation of Fame in the Early Sixteenth Century".” The Agency of Things in Medieval and Early Modern Art : Materials, Power and Manipulation, edited by Grazyna Jurkowlaniec et al., Routledge, 2017, pp. 117–26, doi:10.4324/9781315166940-9.
- APA
- Remond, J. (2017). Distributing Dürer in the Netherlands : gifts, prints, and the mediation of fame in the early sixteenth century". In G. Jurkowlaniec, I. Matyaszkiewicz, & Z. Sarnecka (Eds.), The agency of things in medieval and early modern art : materials, power and manipulation (pp. 117–126). https://doi.org/10.4324/9781315166940-9
- Chicago author-date
- Remond, Jaya. 2017. “Distributing Dürer in the Netherlands : Gifts, Prints, and the Mediation of Fame in the Early Sixteenth Century".” In The Agency of Things in Medieval and Early Modern Art : Materials, Power and Manipulation, edited by Grazyna Jurkowlaniec, Ika Matyaszkiewicz, and Zuzanna Sarnecka, 117–26. London: Routledge. https://doi.org/10.4324/9781315166940-9.
- Chicago author-date (all authors)
- Remond, Jaya. 2017. “Distributing Dürer in the Netherlands : Gifts, Prints, and the Mediation of Fame in the Early Sixteenth Century".” In The Agency of Things in Medieval and Early Modern Art : Materials, Power and Manipulation, ed by. Grazyna Jurkowlaniec, Ika Matyaszkiewicz, and Zuzanna Sarnecka, 117–126. London: Routledge. doi:10.4324/9781315166940-9.
- Vancouver
- 1.Remond J. Distributing Dürer in the Netherlands : gifts, prints, and the mediation of fame in the early sixteenth century". In: Jurkowlaniec G, Matyaszkiewicz I, Sarnecka Z, editors. The agency of things in medieval and early modern art : materials, power and manipulation. London: Routledge; 2017. p. 117–26.
- IEEE
- [1]J. Remond, “Distributing Dürer in the Netherlands : gifts, prints, and the mediation of fame in the early sixteenth century",” in The agency of things in medieval and early modern art : materials, power and manipulation, G. Jurkowlaniec, I. Matyaszkiewicz, and Z. Sarnecka, Eds. London: Routledge, 2017, pp. 117–126.
@incollection{8742442,
abstract = {{On 12 July 1520, Albrecht Dürer, accompanied by his wife Agnes, left Nuremberg for Antwerp, to obtain confirmation of his annual pension from Charles V, initially awarded by Maximilian I. In his diary, the artist comes across as a dynamic entrepreneur, eager to circulate his art. Sculptors or painters they may have been, but Renaissance artists in Nuremberg were more often than not also businessmen. Unlike a portrait drawing, which binds the artist to the sitter, the print is more of a free agent, liberated from the constraints of commissions. In the case of drawn portraits, which could be finished in a few hours or in one evening, Dürer often received a standard compensation of about one florin. Dürer was deeply conscious of the financial value of art in general, and of prints in particular. Dürer's generous gift-giving practices paint a grateful and liberal portrait of the artist, as the 'great lord' he longed to be.}},
author = {{Remond, Jaya}},
booktitle = {{The agency of things in medieval and early modern art : materials, power and manipulation}},
editor = {{Jurkowlaniec, Grazyna and Matyaszkiewicz, Ika and Sarnecka, Zuzanna}},
isbn = {{9780367359720}},
language = {{eng}},
pages = {{117--126}},
publisher = {{Routledge}},
title = {{Distributing Dürer in the Netherlands : gifts, prints, and the mediation of fame in the early sixteenth century”}},
url = {{http://doi.org/10.4324/9781315166940-9}},
year = {{2017}},
}
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