https://www.morningstaronline.co.uk/article/c/champion-oppressed-pix-come

Champion of the oppressed
One of the greatest artists of all time, ALBRECHT DURER was also a supporter of 
the revolutionary impulse of the common people in the 16th century, says Jenny 
Farrell

Wednesday 12th May 2021


TRUE TO LIFE: Albrecht Durer, Three Peasants in Conversation, c1497
THE SON of a goldsmith, Albrecht Durer was born 550 years ago on May 21 1471. 
He came into the world during the upheaval of the Renaissance, the era that 
rang in the early modern age. It was a time of both religious upheaval and when 
the peasantry in Europe rose up and demanded to be treated as equals.

Popular social opposition became part of the Reformation movement, which posed 
a religious and political challenge to the Catholic church and, particularly 
its papal authority. It began with John Wycliffe in England and culminated in 
Germany, where Martin Luther played a key role in the birth of the Reformation.

Yet, as Friedrich Engels describes in The Peasant War in Germany, Luther was 
afraid of the socially explosive effect his challenge to Rome’s hierarchy had 
on the peasants, who understood it to coincide with legitimate aspirations to 
improve their own lot.

But Luther’s theological reform did not question class antagonisms and he, 
along with the bourgeoisie, turned against the revolutionary peasants. They and 
their urban plebeian allies were defeated and their leaders imprisoned and 
executed.

In this context, the significance of Durer’s portrayal of the peasantry cannot 
be underestimated and that influence can be seen in many other artists, 
infusing German art of the Reformation period with a haunting popular appeal.

Durer spent time in the Netherlands from 1520-21 and it was there that he 
produced The Negress [sic] Katherina, a remarkable portrait drawn from life. It 
shows the artist’s great interest in people who came to Europe because of 
growing international trade, including the slave trade, and her name suggests 
that she had converted to Christianity.

The woman depicted is a 20-year-old servant of a Portuguese commercial agent 
who administered the Portuguese spice monopoly in Antwerp and probably acquired 
this African woman through trade connections. Durer infuses her portrait with 
great dignity.

Durer was the first German artist to portray peasants as aesthetic subjects and 
they make a significant appearance in the revolutionary pamphlets of the time.

The copper engraving Three Peasants in Conversation shows a trio of armed, 
intelligent and dignified peasants in serious discussion. One of them carries a 
rapier, another has a knife in his pocket and spurs on his shoes. The third 
figure reaches into his waistcoat, from which he might possibly produce a 
leaflet.

Durer also set an example during the Peasants’ War. Luther advised that the 
princes slaughter the rebellious peasants in their widespread revolt in Central 
Europe from 1524 to 1525, which failed because of intense opposition from the 
aristocracy, who slaughtered up to 100,000 of the 300,000 poorly armed peasants 
and farmers.

In the third book of his 1525 instruction manual in measurement, Durer’s model 
for the proportioning of a monument is a woodcut commemorates the defeated 
peasants. It shows livestock and household and agricultural equipment from a 
peasant holding, now the booty of the conquerors.

Crowning the pillar is a peasant pierced by a sword, the posture of Christ at 
rest. The slain peasant is his true follower.

Such professions of support for the revolutionary peasants was a far from safe 
gesture at the conclusion of that brutal war. Many artists suffered 
persecution, torture and death and Durer ceased all artistic activity. Turning 
to scientific pursuits, he died at the age of 57.

Like many of the greatest artists of that time in Germany, he remained close to 
the common people and their revolutionary aspirations. He fought with the 
weapons of his art.


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