22 October 2005 – 19 March 2006 | Brescia, Pinacoteca Tosio Martinengo
curated by Elena Lucchesi Ragni e Maurizio Mondini
In addition to painting, Albrecht Dürer (Nuremberg 1471-1528) devoted himself to engraving with results so extraordinary and innovative, to be considered among the leaders in the art of imaginary printing. In his graphic work, which includes about 340 of chisels, woodcuts and etchings, the great German artist renews the engraving technique and develop new themes figurative, symbolic and sometimes difficult to interpret. His vast and multifaceted culture, from mythology to military technology, from the sacred books to popular legend, located in the graphic its fullest expression by Dürer becomes essential link between the Nordic culture and artists of the Italian Renaissance, which immediately appreciated him and from which he had learned much. The exhibition intends to present to the public for the first time so almost complete, one of the most important collections of graphic collection of the Art Gallery, notable for quantity (about 180) and quality of the paper, for the most part from the eighteenth-century collection of the Library Queriniana and collections of Paul Tosio and Camillo Brozzoni that in the first half of the nineteenth century, assiduously sought each dureriani specimens. During the exhibition all prints have undergone restoration. The exhibition includes rare specimens, selected from among the best-known artist, documenting the engraving activity since the beginning of his career, from the bathroom (about 1496) and The Sea Monster (1498), the masterpieces of his maturity, Sant 'Eustace (1501), Apollo and Diana (1502), to the Knight, Death and the Devil (1513), the famous Melencholia (1514) and etching depicting a landscape with the gun (1518). Ample space is also reserved for the three series that preserves the Pinacoteca in its entirety: the Small Passion, the Apocalypse and the Passion of copper. The exhibition also presents some copies taken from prints by Dürer made ??direct comparison with the originals, among them there are chisels made ??by Marcantonio Raimondi (c. 1482 - 1527/34), that the same Dürer accused of forgery. In a special section are exposed specimens with antique integration interventions in pen, significant extraordinary success with artists and collectors of engravings of the German master and as such maintained under restoration.