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;
- by
-
Headlam, Cecil, b. 1872
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
“Schuh—
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