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alb3605105 Erasmus of Rotterdam. Artist: Albrecht Dürer (German, Nuremberg 1471-1528 Nuremberg). Dimensions: sheet: 9 3/4 x 7 1/2 in. (24.8 x 19.1 cm) trimmed within plate line at top and bottom, slight margin at sides. Date: 1526.A Roman Catholic reformer and one the most important Netherlandish humanists, Erasmus of Rotterdam held a deep admiration for Albrecht Dürer, whom he praised in a eulogy as the greatest of graphic artists: "And is it not more wonderful to accomplish without the blandishment of colors what Apelles accomplished with their aid?" In likening Dürer to Apelles--indeed, in asserting the German's superiority over the Greek artist--Erasmus echoed a tradition dating back to antiquity of judging artists and the visual character of their work by the standards set by their predecessors. Dürer would certainly have appreciated the praise for his graphic talents. The portrait amply demonstrates the virtuous effects Dürer was able to achieve without the benefit of color or a liquid medium. Convincingly aligned at an angle to the picture plane, Erasmus stands writing in his study, with the books that indicate his substantial intellect and scholarship arranged around him. The vase of lilies probably refers to the purity of his mind, while the Latin and Greek inscription, prominently framed like a picture on the wall, underscores the scholar's humanistic interests: "This image of Erasmus of Rotterdam was drawn from life by Albrecht Dürer." Below are the date, 1526, in Roman numerals, and the artist's monogram.Dürer met Erasmus at least once in Brussels and twice in Rotterdam during a trip to the Netherlands in 1520 and 1521. Although he sketched Erasmus several times during his trip, he did not execute the engraving until six years later, and only then with the encouragement of his close friend Willibald Pirkheimer; apparently, for certain reasons Dürer had been disappointed by the well-known Protestant reformer. Dürer based the portrait on a medal of 1519 in Pirkheimer's collection by Quentin Massys and reproduced the Greek inscription found on the medal, which states: "A better portrait his writings show." Presumably Erasmus agreed, because he made known his disappointment with this portrait to at least two of his colleagues. And yet, Dürer's Erasmus remains one of history's richest and most powerful depictions of scholarly preoccupation and the humanist ideal. Museum: Metropolitan Museum of Art, New York, USA.

akg8011963 Schumacher, Emil1912 Hagen - 1999 San José/ Ibiza""Fillis"". 1959. Mixed media on canvas. 140 x 96cm. Signed and dated lower right: Schumacher 59. Verso on the stretcher titled ""Fillis"". Framed. The painting is listed under the inventory number 0/3.697 in the directory of the Emil Schumacher foundation organised by Dr. Ulrich Schumacher. We thank Dr. Ulrich Schumacher for the kind, scientific support. Provenance: - Galerie van de Loo, Munich (stamp) - Galerie Reckermann, Cologne (stamp) - Galerie Bernard, Grenchen/Switzerland (stamp) - Galerie Rudolf Zwirner, Cologne (according to consigner) - Private collection North Rhine-Westphalia Exhibitions: - Kestner-Gesellschaft, Hannover 1961 (adhesive label) - Kunstverein Münster, 1962 (adhesive label) - Kunstverein Hamburg, 1962(adhesive label) - Kunstverein Freiburg, 1962 (adhesive label) - Museum Kunstpalast, Düsseldorf 2010 Literature: - Exhibiton-cat. Kestner-Gesellschaft Hannover 1961/1962, ill. - Exhibiton-cat. La grand geste! Informel und Abstrakter Expressionismus 1946-1964, Museum Kunstpalast, Düsseldorf 2010, cat. no. 133, p. 147, ill At the beginning of the 1950s, Emil Schumacher detached himself from the object as a pictorial motif. Here, in this painting from 1959, the material and painting are at the centre of his creative work as their own, meaningful expression, entirely in the spirit of Informel. Nevertheless, the strongly graphic element allows some fascinating discoveries: the viewer cannot help but unite the black lines lying on the white surface and resembling a cipher into a figurative construct. The line construct evokes associations and reveals the contours of a human being. Is there a person standing on skis in a wintery white landscape? At the same time, Schumacher makes the artistic moment, the creative process, visible in the roughness of his partly broken and sublime surfaces. The artist shares testing and experimenting with new materials, processes and techniques throughout his entire oeuvre with the viewer. It is not unusual for him to choose titles for his works that are later invented, full of associations, that sometimes originate from his imagination or are based on real places or persons and names. . Art trade, Van Ham.