We grabbed them, and the detail was even more breathtaking. I knew I’d be amazed by Durer (1471 – 1528), but I was thinking German Renaissance black and white woodcuts, prints, and etchings: this could be some work. What surprised me were the bits of affection throughout. I’m not saying Durer’s view of the apocalypse is a walk in the park, but those are cool dragons, and you’ve got to like birds and cherubs with eyes peering from their arms or wings. I smiled over a corner in which a kid tries out stilts, and in “The Holy Family with Grasshopper,” yes, there’s an insect with wild knees posing with the holy ones.
And in the famous engraving of Adam and Eve, near their feet a cat snoozes near an alert mouse, and in the upper left a bearded goat perches on a cliff. “Like something out of Dr. Seuss,” I said to Peter, who replied. “A lot reminds me of Seuss. The sometimes whimsical perspectives. And those creatures like the seven-headed beast.” Yes, with crowns on both horns, and one head with gawky grin and another looping back under the strain of a sprawling neck.
In the engraving of Saint Jerome in His Study there’s a skull on the window seat and no sense that the saint is writing something funny, but the expression on the lion’s face is simply sweet. And such tenderness in the depiction of his paws and rumpled pillows, and the scissors, beads, brushes, and aren’t those slippers kicked to the side? It made me happy.
If you can’t catch this exhibit but want to know more about Durer and the printmaking process, the Clark website, with url above, has lots of information including an interesting video. And what’s the take-away for me as a writer? I guess first, get to work. What Durer does in one piece, never mind a roomful, never mind a show-full, is amazing. But after that, there’s the reminder to put a chubby kid maybe with crooked wings and collapsing stilts in the corner, especially when I’m going for dark. And there’s nothing wrong with a smiling sleepy lion.