Peter der Jüngere Vischer
brass founder, sculptor, draftsman, redsmith, medallist
born Nürnberg, 1487
died Nürnberg, Jun 1528
Fonte:
https://www.nuremberg.museum/projects/show/196-st-sebaldus-tomb
https://www.nuremberg.museum/projects/show/196-st-sebaldus-tomb
Peter Vischer;
https://archive.org/details/petervischer00head/page/n66/mode/thumb
https://archive.org/details/petervischer00head/page/n150/mode/thumb
https://digi.ub.uni-heidelberg.de/diglit/franck1813/0021/image,info,thumbs
PETER VISCHER, o grande fundidor de bronze, cuja obra e a de sua casa representam a transição completa do estilo gótico para o renascentista na Alemanha, nasceu e foi criado na casa de seu pai em "Am Sand". Lá ele viveu e trabalhou como aprendiz com seu pai na Fundição da Cidade, na Torre Branca, durante toda a sua infância. Podemos presumir isso, embora nada saibamos sobre sua juventude, e ninguém, dentre todos os homens já falecidos, ficaria mais surpreso do que ele ao se ver como tema de uma monografia, ou ficaria mais genuinamente surpreso ao saber que sua educação é fonte de interesse para as gerações posteriores. Pois ele nos aparece nos poucos documentos históricos em que figura como o tipo perfeito do artesão simples e imaculado ou Mestre de Guilda. Um homem não era um artista naquela época, mas um mero pedreiro, ferreiro ou pintor. Mas, sem o título, não lhe faltava necessariamente a qualidade. O estudo do design nunca foi tão entusiasmado, a busca pela excelência nunca foi tão sincera como nos dias em que a arte de Dürer era considerada um mero parasita de outras profissões, quando Hans Sachs era
Peter Vischer, father Hermann, brothers Hermann, Peter and Hans Vicher.
Os alemães têm por natureza o dom de trabalhar o metal e, entre eles, no domínio do bronze, Peter Vischer ocupa facilmente o primeiro lugar. Sua posição como artesão pode, de fato, ser comparada à de seu contemporâneo e concidadão, Albert Dürer, como artista. A história de suas obras e das de sua casa tem um interesse peculiar para o estudante de arte, na medida em que ilustra a passagem gradual, mas facilmente rastreável, dos artesãos alemães do estilo gótico tardio para o neopaganismo completo e, sucessivamente, da escola dos pintores e escultores do Norte para a dos grandes mestres italianos.
THE Germans have by nature the gift of working in metal, and, among them, in the realms of bronze, Peter Vischer stands easily first. His position as a craftsman may, in fact, be compared with that held by his contemporary and fellow citizen, Albert Dürer, as an artist. The history of his works and of those of his house, have a peculiar interest to the student of art, inasmuch as they illustrate the gradual but easily traceable passage of the German craftsmen from the style of late Gothic to that of complete neo-paganism, and, from the school of the Northern painters and sculptors to that of the great Italian masters successively.
Falo das obras de Peter Vischer "e de sua casa" porque, ao traçar esse desenvolvimento, temos que levar em consideração não apenas suas obras, mas também as de seu pai, Hermann, e de seus filhos, Hermann, Peter e Hans. O pêndulo da crítica, de fato, oscilou mais de uma vez desde que o Imperador Maximiliano costumava visitar a fundição de Peter Vischer em Nuremberg, e as questões sobre quais são realmente as obras do Mestre e qual posição lhe deve ser atribuída no mundo da arte foram respondidas de mais de uma maneira. Por muitos anos, devido em parte à ignorância da maioria das pessoas e em parte, sem dúvida, à ganância de poucos, a tendência foi atribuir a este famoso artesão as obras de muitos. Em certa época, quase todas as obras de arte em bronze encontradas em toda a Alemanha eram atribuídas a Peter Vischer, assim como um Talleyrand ou um Sydney Smith tiveram gracejos de todas as épocas e qualidades atribuídos a ele.
I speak of the works of Peter Vischer “and his house,” because, in tracing this development, we have to take into consideration not only his works but also those of his father Hermann and of his sons, Hermann and Peter and Hans. The pendulum of criticism has indeed swung more than once since the Emperor Maximilian used to visit Peter Vischer’s foundry in Nuremberg, and the questions as to what are actually the works of the Master and what position is to be assigned to him in the world of art, have been answered in more ways than one. For many years, owing partly to the ignorance of most people, and partly vino doubt to the greed of the few, the tendency was to attribute to this one famous craftsman the works of many. At one time almost any work of art in bronze to be found throughout the length and breadth of Germany was attributed to Peter Vischer, just as a Talleyrand or a Sydney Smith has had witticisms of every date and every quality fathered upon him.
From unreasoning praise, again, men passed to equally undiscriminating disparagement. Heideloff arose and wished the world to see in Peter Vischer nothing but the mere craftsman who put into bronze the designs and models of Adam Krafft or another. The admirable labours of Retberg, however, and of Dr. Lübke have shown how little foundation there is for this view, and, more recently, by the application of the principles of more exact art-criticism, Dr. Seeger, in his minute and loving study of Peter Vischer the younger, has vindicated the claim of the great craftsman’s son to rank with, or even above, his father as the first and greatest exponent of Renaissance plastic-work in Germany.
To the two latter authors I have been continually and especially indebted whilst writing the present monograph. For the use of very many of the illustrations forming the volume to which Dr. Lübke contributed the text, my best thanks and acknowledgements are due to the publisher, Herr Stein, of Nuremberg.
PETER VISCHER: HIS LIFE
PETER VISCHER, the great bronze-founder, whose work and that of his house embodies the complete transition from the Gothic to the Renaissance style in Germany, was born and brought up in his father’s house in “Am Sand.” There he lived, and he worked as an apprentice with his father in the Town Foundry in the White Tower all the days of his boyhood. So much we may assume, although we know nothing of his youth, and no one of all the men since dead would be more surprised than he to find himself the subject of a monograph, or would be more genuinely astonished to learn that his up-bringing is a source of interest to later generations. For he appears to us in the few historical documents in which he figures as the perfect type of the plain, unspoilt craftsman or Master of a Guild. A man was not an artist in those days, but a mere stonemason, or smith or painter. But, lacking the title, he did not necessarily lack the quality. The study of design was never more enthusiastic, the struggle after excellence never 10more sincere than in the days when Dürer’s art was regarded as a mere parasite of other trades, when Hans Sachs was
