細節
William Bell Scott (1811-1890)
Wise and Foolish Virgins at the Bride's Door, St Sebalds Church, Nurnberg
signed with initials WBS, inscribed,
brown wash, lunette
8 x 6in. (20.3 x 15.2cm); and
The Wise and Foolish Virgins
each numbered
7 x 2 1/8in. (17.8 x 5.4cm)
11 framed overall
The drawing must date from Scott's visit to Nurnberg early in 1854. The main product of the visit was the picture Albert Durer in Nurnberg (National Gallery of Scotland), 'painted from the balcony at the end of Albert Durer's house in Nurnberg, showing the open space at The Thiergarlen Thor, with the Schloss beyond, and Albert looking out at the passing crowd' (W. Bell Scott, Autobiographical Notes, 1892, I, pp 319-20). Many years later, however, Scott recalled how he had always wanted to paint 'the marriage of dear Albert Durer', a subject 'suggested on my visit to Nurnberg by the loveliest of backgrounds in the "Bride's Door" of St Sebalds Church, with its decorative statuettes of the wise and foolish Virgins; Durer having been married in the parish of St Sebald. Imagine Agnes in her good and pretty young days, and the strangely interesting Albert himself, and old Wolgemut, and Albert the old, and the boy's godfather, the printer of the chronicle!' (ibid., II, pp.249-50).
Scott was a passionate admirer of Durer. He published a Life of the Master in 1869, and his large print collection, dispersed in 1885, contained no fewer than 121 of Durer's engravings and woodcuts.
Wise and Foolish Virgins at the Bride's Door, St Sebalds Church, Nurnberg
signed with initials WBS, inscribed,
brown wash, lunette
8 x 6in. (20.3 x 15.2cm); and
The Wise and Foolish Virgins
each numbered
7 x 2 1/8in. (17.8 x 5.4cm)
11 framed overall
The drawing must date from Scott's visit to Nurnberg early in 1854. The main product of the visit was the picture Albert Durer in Nurnberg (National Gallery of Scotland), 'painted from the balcony at the end of Albert Durer's house in Nurnberg, showing the open space at The Thiergarlen Thor, with the Schloss beyond, and Albert looking out at the passing crowd' (W. Bell Scott, Autobiographical Notes, 1892, I, pp 319-20). Many years later, however, Scott recalled how he had always wanted to paint 'the marriage of dear Albert Durer', a subject 'suggested on my visit to Nurnberg by the loveliest of backgrounds in the "Bride's Door" of St Sebalds Church, with its decorative statuettes of the wise and foolish Virgins; Durer having been married in the parish of St Sebald. Imagine Agnes in her good and pretty young days, and the strangely interesting Albert himself, and old Wolgemut, and Albert the old, and the boy's godfather, the printer of the chronicle!' (ibid., II, pp.249-50).
Scott was a passionate admirer of Durer. He published a Life of the Master in 1869, and his large print collection, dispersed in 1885, contained no fewer than 121 of Durer's engravings and woodcuts.