Melencolia I

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“But what absolute beauty is I know not. Nobody knows it but God,” said Albrecht Durer, before creating his engraving (29 Finkelstein). Melencolia I, created in 1514, conveys this statement visually in the engraving about not being able to obtain divine knowledge. Part of a supposed series of large prints, Melencolia I belongs to the three virtues of medieval scholasticism, which are morality, theology, and intellectuality. Though linked to insanity, Renaissance studies indicate that melancholy, a depressive state, was linked to creative genius, praising it more as a gift than a curse. This change in definition could only be applied to Dürer, as he had mastered his craft, yet could not achieve divine beauty (Met Museum). To understand the meaning behind this highly detailed piece of art, it must be broken down into different areas of focus; to fully understand the theme of the piece: knowledge is divine. To understand the theme, we must first look at the artist’s biographical makeup to understand why he chose to make such an elaborate print. The piece itself must be analyzed to gain understanding of the theme of divine knowledge, as well as make crucial connections between the piece and the artist.

Albrecht Dürer took printmaking to a new level, to a form of fine art all its own. Melencolia I, along with other prints proved to be far more superior to prints made in the past. Though Dürer grew up in Germany, visits to Italy heavily influenced his artistic style and thirst for artistic expression (Met Museum). Not only did he strive for artistic perfection, he also excelled in other forms of math and science, which carried over into his theories of geometry and perspective in his art. His methods made him an iconic figure on the...

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... other artists, the piece inspired poetry, prose, and sculpture, which derive from high praise to frustration. An excerpt from a poem written by Peg Boyers as part of Dürer’s Melencolia I: New Looks, expresses the emotions she felt while studying Melencolia I. She writes, “Geometry, that god you worship, has betrayed yon. It clutters your surface with angles and shapes, tempting you to ponderous speculation, placing clumsy obstacles in your path.” Perhaps this was the reaction Dürer intended, to confuse and befuddle the viewers, letting them see the same world as him. Though there were many objects bearing a symbol in the piece, the ones chosen were just a handful that helps reinforce the theme of divine knowledge. Dürer truly created a map of puzzles meant to be questioned and analyzed, to stray the viewer off the right path, yet all paths lead back to the theme.

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