File:Nuremberg and its art to the end of the 18th century. (1905) (14590795680).jpg

Identifier: nurembergitsartt00repa (find matches)
Title: Nuremberg and its art to the end of the 18th century.
Year: 1905 (1900s)
Authors: Rée, Paul Johannes, b. 1858 Palmer, G. H. (George Henry), b. 1871, tr
Subjects: Art
Publisher: London : H. Grevel & Co. New York : C. Scribner's Sons (etc., etc.)
Contributing Library: Boston Public Library
Digitizing Sponsor: Boston Public Library

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o know him, too, as a skilful etcher, and find him rendering homage toItalian art. As an etcher he also executed a series of landscapes,— drawn withgreat ease and freedom,— which testify to his strong artistic feeling. For this theclever artist Hans Sebald Lautensack is very like him. By Lautensack is thefine series of views of the city of Nuremberg, of 1552. Hirschvogel hadpublished a similar series of Vienna five years earlier. He worked there asmathematician, map-draughtsman, astronomer and etcher, from 1543 until hisdeath, which occurred in 1569. His importance for Nuremberg art lies in theadvance in art-handicraft, for which he was partly responsible. Just such anartistically endowed master, well-versed both in theory and technique, was neededto raise handicraft to the high artistic level, at which we find it in Nurembergtowards the middle of the 16^ century. As already in stove-pottery, so energe-tically improved by Augustin Hirschvogel, so now in all branches of art-crafts-
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Fig. 89. P. Flotner: Design for a bedstead. Woodcut. J,2 PETER FLOTNER. iv^-i m,^jM^S^^M 1 1 m Fig. go. P. Flotner: Plaquettes with putti. In the Bavarian Industrial Museum, Nuremberg. Photograph by M. Eberlein. manship, a forward movement began to show itself. No craft wanted to remainbehind the rest, rather did each seek to outdo the others in beauty and wealthof ornament. Then, as now, artist and craftsman were by no means always a singleperson, but it was the business of quite special, richly imaginative, mastersto make designs for the different crafts. Such a one was Peter Flotner, whocame to Nuremberg from Ansbach in 1522. He united a rare technical many-sidedness to a Holbeins feeling for beauty. Formerly nothing more was knownof him, than that he once cut on a cherry-stone 113 different faces of menand women. Then people just admired, in collections, his delicate little carvings.Now we know him to have been one of the most important artists that Nurem-berg ever owned, and we c

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