The Four Apostles is a panel painting by the German Renaissance master Albrecht Dürer.[1] It was finished in 1526 and is the last of his large works. The painting depicts the four apostles in larger-than-life-sizes.[1] The Bavarian Elector Maximilian I obtained The Four Apostles in the year 1627 due to pressure on the Nuremberg city fathers. Since then, the painting has been in Munich, in the Alte Pinakothek, and, despite all the efforts of Nuremberg since 1806, it has not been returned to Dürer's hometown.[2] While the painting is titled The Four Apostles, both Saint John and Saint Mark are actually Evangelists, and not Apostles. [3]
Description
editThe two paintings that make up this diptych are both done in an Northern Renaissance style, and are the last of Dürer's largescale works.[4] Each panel is 215 cm x 76 cm and features two figures standing in each panel.[2] Saints John and Peter are depicted in the left panel; the figures in the right panel are Saints Mark and Paul. The former are shown reading from the opening page of John's own Gospel, and the latter both appear alert, however only Paul, the father of Theology, seems to have recognized the spectator.[1] At the bottom of each panel, quotations from the Bible are inscribed that relate to the Protestant Reformation that inspired Dürer to create this piece.[1] Dürer chose to represent each of the apostles with striking realism and faces that resembled those of everyday people, in favor of the typical proportional perfection seen in other Renaissance works. [5]
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 Smarthistory – Dürer's The Four Apostles |
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Symbolism
editDürer included various symbols within this painting that are associated with each of the apostles. These symbols were attributed to their respective saints not only as a means of identification, but to also personify the mission of the Protestant Reformation Dürer had recently joined.[2]
The symbols associated with each apostle are:
- St. John the Evangelist: Open book
- St. Peter: Key
- St. Mark: Scroll
- St. Paul: Sword and Closed book
Key
editHeld by St. Peter, the key was painted by Dürer to represent the keys to the kingdom of Heaven. The key serves as a means of unlocking Heaven, which before the Reformation would have only been accessible through the Papacy.[1]
Scroll
editThe scroll held by St. Mark is a representation of his own gospel. The reference to the scroll was also a means of transitioning from one older, more traditional way of thought to that of the Reformation - a new true way of worship.[1]
Sword and Closed Book
editSt. Paul holds both the sword and closed book. The sword is depicted here to signify St. Paul's status as a martyr, while the book represents the New Testament letters he wrote while he was imprisoned.[1]
Bible
editThe Bible, the living word of God, is depicted here as a representation of the Christian law and source to salvation.[1] In contrast to the key held by St. Peter, which was only unlocked through the Papacy, the Bible held by St. John reflects the idea of the average person having an open relationship with God. In addition to the idea of direct access to God, the Dürer also uses the Bible to signify to viewers the ever presence of the word of God.[1]
The apostles are also associated with the four temperaments .[3] These parings were made to further reinforce the message of the reformation and help to differentiate between the old way of worship, and the new, truer, beliefs of Martin Luther.[3]
The temperaments associated with each apostle are:
- St. John: sanguine
- St. Peter: phlegmatic
- St. Mark: choleric
- St. Paul: melancholic
Inscriptions
editThe inscriptions painted at the bottom of the painting by Dürer were placed not only as references to the Reformation, but also as warnings about dangerous theology such as heresy and Pharisaism.[4] One of the inscriptions reads as follows:
'All worldly rulers in these dangerous times should give good heed that they receive not human misguidance for the Word of God, for God will have nothing added to His Word nor taken away from it. '
These words were seen as controversial by some, with the Munich monarch Maximillian removing this portion of the painting to protect the Jesuits who held a prominent position within his court. This was done because the Jesuit belief did not align with the warnings of terror brought on by Dürer.[2]
Historical context
editThe Four Apostles was created during the Reformation, begun in 1517 and having the largest initial impact on Germany, the work was completed in 1526. During this time, Dürer had himself left the Catholic church and transitioned to Protestantism.[5] Some Protestants believed that icons were contradictory to the Word of God, which was held in the utmost supremacy over, thus some Protestant churches would not patron any sacred art to discourage the worship of images and false idols. Because of this belief, Dürer made both paintings of his own volition. They were not commissioned like his other works.[5] When the paintings were completed, Dürer presented them to the town of Nuremberg, where they were accepted by elders and later displayed at town hall.
Attached to the painting was a letter written by Dürer which read as follows:
“Prudent, honourable, wise, dear Masters. I have been intending, for a long time past, to show my respect for your Wisdoms by the presentation of some humble picture of mine as a remembrance; but I have been prevented from so doing by the imperfection and insignificance of my works, for I felt that with such I could not well stand before your Wisdoms. Now, however, that I have just painted a panel upon which I have bestowed more trouble than on any other painting, I considered none more worthy to keep it as a reminiscence than your Wisdoms. Therefore I present it to your Wisdoms with the humble and urgent prayer that you will favourably and graciously receive it, and will be and continue, as I have ever found you, my kind and dear Masters. Thus shall I be diligent to serve your Wisdoms in all humility. Your Wisdoms' humble ALBRECHT DURER”
Many aspects of the image depicted prove significant in light of the Reformation itself.[5] Durer placed Peter, often held as the symbol of the papacy, behind John the Evangelist. Both men read from the Scriptures, which Luther upheld as the sole authority for doctrine in the Church. Durer also placed quotations from Luther's translation of the German New Testament on the panel beneath the Apostles.[4] Dürer’s commitment to his new Protestant identity is further evidenced by placing the saints Paul and John, who were believed to be the most influential to Luther, at the foreground of the painting.[1]
This painting has had many speculations as to Durer's intentions, one being that it was his way of creating a sort of worthy legacy piece.[3] When Dürer moved back to Nuremberg he produced many famous paintings there, including several self-portraits. He gave The Four Apostles to the town council.
Saint Paul vs. Saint Phillip
editIn an earlier version of this work, Durer chose to depict St. Phillip in the place of St. Paul.[3] When Durer decided to change the depiction of St. Phillip to that of Saint Paul, he did so by painting him with a bald head, long, flowing beard, and a strong, aquiline nose. Durer also replaced the originally depicted staff with a sword; the traditional item used to identify St. Paul.[3]
See also
edit- List of paintings by Albrecht Dürer
- Portrait of Jakob Muffel - A Dürer painting of the same year
References
edit- ^ a b c d e f g h i j Harris, Beth; Zucker, Steven (2012). "Albrecht Dürer, The Four Apostles". Smarthistory. Retrieved 9 October 2024.
{{cite web}}: CS1 maint: url-status (link) - ^ a b c d Cite error: The named reference
:1was invoked but never defined (see the help page). - ^ a b c d e f Christensen, Carl C. (1967). "Durer's 'Four Apostles' and the Dedication as a Form of Renaissance Art Patronage". Renaissance Quarterly. 20 (3): 325–334. doi:10.2307/2859654. ISSN 0034-4338. JSTOR 2859654. S2CID 191401164.
- ^ a b c Gardner's Art through the Ages: A Global History, Fourteenth Edition, Volume II by Fred S. Kleiner, 2013 (p. 652)
- ^ a b c "Dürer's Four Apostles". Smarthistory at Khan Academy. Archived from the original on October 18, 2014. Retrieved December 18, 2012.
External links
editSources
edit- “Albert Durer.” The Illustrated Magazine of Art, vol. 2, no. 11, 1853, pp. 277–82. JSTOR, http://www.jstor.org/stable/20538135. Accessed 2 Oct. 2024.
- “Albert Durer.” The Illustrated Magazine of Art, vol. 3, no. 13, 1854, pp. 57–70. JSTOR, http://www.jstor.org/stable/20538210. Accessed 2 Oct. 2024.
- Deuchler, Florens. “ALBRECHT DÜRER.” The Print Collector’s Newsletter, vol. 2, no. 1, 1971, pp. 4–5. JSTOR, http://www.jstor.org/stable/44130079. Accessed 2 Oct. 2024.
- Wolf, Norbert. Albrecht Dürer, 1471-1528. Taschen America Llc, 2010. ISBN: 978-3-7913-4426-3.
- Price, David Hotchkiss. Albrecht Dürer's Renaissance: Humanism, Reformation and the Art of Faith. Michigan, 2003. ISBN 978-0-4721-1343-9.
- Dr. Steven Zucker and Dr. Beth Harris, "Albrecht Dürer, The Four Apostles," in Smarthistory, December 9, 2015, accessed October 7, 2024, https://smarthistory.org/albrecht-durer-the-four-apostles/.
- https://www.metmuseum.org/art/online-features/viewpoi
Media related to Four Apostles by Dürer at Wikimedia Commons
