Dürer's Echo:
Five Centuries of Influence
by Steve Goddard
When Albrecht Dürer's 15 large woodcuts illustrating
the apocalypse appeared in 1498, they set a benchmark against which
the art of woodcut has ever since been measured.
His so-called master engravings of 1513-14 set a similar
standard for the art of engraving.
An exhibition last year at the Spencer Museum of Art
presented a variety of responses to Dürer, from forgeries to tributes.
. . .
More
recent tributes to Dürer are only now coming into focus. As recently
as June 1999, artist Tom Huck wrote in response to a question about
the significance of Dürer for his use of woodcut:
"Listen, the sole reason that I cut wood is because
of Dürer. When I was 13 my mom and dad took me to DC, and at the
National Gallery there I was allowed to buy one art book. Not even knowing
what a woodcut was or what a print was for that matter, I saw BATTLE
OF THE ANGELS [from The Apocalypse] on the cover of Kurth's THE
COMPLETE WOODCUTS OF ALBRECHT DÜRER and that was it."
(The Apocalypse is the name given to Dürer's
series of brilliant woodcuts of 1498 illustrating the biblical Book
of Revelations.)
One of Huck's friends noted of the woodcut exhibited
here, Chili Dogs, Chicks and Monster Trucks from the 14 Rural
Absurdities Suite, "You make Dürer clouds" - which Huck was
happy to acknowledge.
Next >>>
