Even the independent landscape is integrated into the scene, instead of being divided and estranged. And there was war in Heaven: Michael and his angels fought against the dragon; and the dragon fought and his angels, and he prevailed not; neither was their place found any where in Heaven. 12:7). ( Log Out /  Its copied and pasted from a PBwiki page, so the formating is kind of weird on here. This full-page miniature introduces the Mass celebrated on his feast day, an important one in this missal since Michael was the patron saint of the church for which it was made. Crosshatched areas of light and dark give the piece multiple dimensions and rich texture. Unknown Leaf: 28.2 × 18.9 cm (11 1/8 × 7 7/16 in.) The Renaissance of the north was not as willing to cling to Classical forms as the artists of Florence. Location. Beneath this celestial battlefield there lies a landscape untroubled and serene, with Dürer's famous monogram. Although the picture is grayscale, the contrast of black and white creates a very dramatic feeling; in fact, it is perfectly fitting to represent one extreme in opposition to the other, illustrating good versus evil. Download and Share. The position where details are gathered is displayed with an abundance of overlapping forms. Open Content images tend to be large in file-size. Catalonia. Help us improve our records by sharing your corrections or suggestions. ST. MICHAEL SLAYING THE DRAGON The Louvre, Paris . St. Michael - by Raphael Click Image to view detail. Saint Michael Fighting the Dragon, from The Apocalypse 1498 After Albrecht Dürer German. Gift of The Print Club of Cleveland 1922.94.13 . 609), with which it has always been associated. Space is treated as an all-inclusive, self-absorbed bundle; from this perspective, we can see the war encapsulated in frenzied fusion while a sleepy village lies in the distance. Catalogue raisonné: Meder 174. With the Apocalypse series, Dürer raised the medium of woodcut to the level of sophistication that engraving had achieved nearly three decades earlier. Ms. 64 (97.MG.21), fol. Despite the vicious brutality, the angels are smiling in light of their cause. St. Michael is Heaven’s warrior; his purpose is to deflect Satan and protect souls wielding the word of God. The elegant, fluid characters contrast the chaotic celestial fighting ground. Rigamarole. Change ), You are commenting using your Twitter account. Amazingly, this woodcut is only 15 x 11 1/8 inches, yet the details are clearly defined. Create a free website or blog at WordPress.com. 152. It is easy to imagine this scene actually moving, both ugly and entrancing at the same time. The Northern Renaissance The Northern Renaissance was focused upon naturalism, realism and attention to detail when it came to artistic expression. Part of a set. Bilgewater. Dürer's St Michael does not strike ally pose He is in deadly earnest. For some, this meant an entire new genre of artistic expression just waiting to be perfected. Woodcut. The media used during the Renaissance was very different, as well; artists transitioned from grand frescoes to perfection in oil painting. Additionally, one of the most innovative ideas in history was produced during this time: the printing press. He uses both hands in a mighty effort to thrust his huge spear into the dragon's throat, and this powerful gesture dominates the whole scene. Saint Michael the archangel stands upon a dragon with his spear and shield jammed into the beast's open mouth. The printing press allowed for a number of new techniques to develop, all of which vary slightly from each other and differ immensely from any other medium present during the Northern Renaissance.