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This lavishly illustrated work on the great German Renaissance painter and print-maker, Albrecht Durer (1471 - 1528), starts with a reasonably good introduction, mentioning the differing historical views on Durer, such as the belief common among 19th-century German Romanticists that he was a meek and pious soul wholly devoted to the interpretation of Christian subjects and contented with a quiet and dependent life.
This picture of a pedantic, conservative craftsman is countered by a suggestion that there might have been a Faustian element in Durer's nature, typified by a restless craving for a perfection never to be attained and an acute awareness of irresolvable artistic problems.
Unfortunately, this lively opening is not lived up to. Panofsky's treatment of the biographical details of Durer's life - including the revelationn that he was unhappily married - leads to a long, shapeless, rambling account, governed more by the intricate chronology of Durer's artistic production than any profound sense of the man himself.
There is no denying Panofsky's erudition. He definitely has all the colors on his mental palette. But like a bad painter he mixes all the hues together in a messy attempt to show off how vast and detailed his knowledge is. An intrinsically fascinating subject is thus rendered increasingly murky and morass-like by Panofsky's inability to make clear points or structure the rich detail of his knowledge. This work is the classic example of a book written by an academic with his nose too deeply buried in his subject. A strong editor would have been a godsend.


The book takes us through Durer's career in chronological order. It is easy to look up specific works and their contexts (there are handy indices as well). It's comprehensiveness makes it a really useful book to have on hand. All Durer studies after this one necessarily make reference to what Panofsky said.
As a monograph this is, hence, extremely succesful. It is also a product of its time and of Panofsky's method. Newer studies, such as Joseph Koerner's "The Moment of self-portraiture in german renaissance art", probe deeper into some of the themes about which the reader may be left wondering upon reading Panofsky.
Durer is arguably THE most important artist of the German Renaissance; Panosfky the most important art historian of our time. Read the book!

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I have a copy of the original publication; the cover has illustrations of the twelve signs of the zodiac, and has 129 pages, including the index. Hopefully, the reprinted edition has some biographical material on J.G. Porter.