During the nineteenth century, Albrecht Durer's art, piety, and
personal character were held up as models to inspire contemporary
artists and-it was hoped-to return Germany to international
artistic eminence. In this book, Jeffrey Chipps Smith explores
Durer's complex posthumous reception during the great century of
museum building in Europe, with a particular focus on the artist's
role as a creative and moral exemplar for German artists and museum
visitors. In an era when museums were emerging as symbols of civic,
regional, and national identity, dozens of new national, princely,
and civic museums began to feature portraits of Durer in their
elaborate decorative programs embellishing the facades, grand
staircases, galleries, and ceremonial spaces. Most of these arose
in Germany and Austria, though examples can be seen as far away as
St. Petersburg, Stockholm, London, and New York City. Probing the
cultural, political, and educational aspirations and rivalries of
these museums and their patrons, Smith traces how Durer was
painted, sculpted, and prominently placed to accommodate the era's
diverse needs and aspirations. He investigates what these portraits
can tell us about the rise of a distinct canon of famous
Renaissance and Baroque artists-addressing the question of why
Durer was so often paired with Raphael, who was considered to
embody the greatness of Italian art-and why, with the rise of
German nationalism, Hans Holbein the Younger often replaced Raphael
as Durer's partner. Accessibly written and comprehensive in scope,
this book sheds new light on museum building in the nineteenth
century and the rise of art history as a discipline. It will appeal
to specialists in nineteenth-century and early modern art, the
history of museums and collecting, and art historiography.
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