Match each artist/author to their correct work - Martin Luther
The Reformation era would have never existed if the Renaissance had not begun. During the Renaissance, people determined that religion was a personal endeavor. What one person chose to believe or not believe shouldn't be dictated by one individual, such as the Pope.
Another note reflects on the nature of beauty. In 1513 and 1514, Dürer experienced the death of a number of friends, followed by his mother ( whose portrait he drew in this period), engendering a grief that may be expressed in this engraving. Dürer mentions melancholy only once in his surviving writings.
The first, melancholia imaginativa, affected artists, whose imaginative faculty was considered stronger than their reason (compared with, e.g., scientists) or intuitive mind (e.g., theologians). Dürer might have been referring to this first type of melancholia, the artist's, by the "I" in the title.
They share elements with Melencolia I such as a winged, seated woman, a sleeping or sitting dog, a sphere, and varying numbers of children playing, likely based on Durer's Putto. Cranach's paintings, however, contrast melancholy with childish gaiety, and in the 1528 painting, occult elements appear. Prints by Hans Sebald Beham (1539) and Jost Amman (1589) are clearly related. In the Baroque period, representations of Melancholy and Vanity were combined. Domenico Fetti 's Melancholy / Meditation (c. 1620) is an important example; Panofsky et al. wrote that "the meaning of this picture is obvious at first glance; all human activity, practical no less than theoretical, theoretical no less than artistic, is vain, in view of the vanity of all earthly things."
The print's central subject is an enigmatic and gloomy winged female figure thought to be a personification of melancholia – melancholy. Holding her head in her hand, she stares past the busy scene in front of her. The area is strewn with symbols and tools associated with craft and carpentry, including an hourglass, weighing scales, a hand plane, a claw hammer, and a saw. Other objects relate to alchemy, geometry or numerology. Behind the figure is a structure with an embedded magic square, and a ladder leading beyond the frame. The sky contains a rainbow, a comet or planet, and a bat-like creature bearing the text that has become the print's title.
A commonly quoted note refers to the keys and the purse—"Schlüssel—gewalt/pewtell—reichtum beteut" ("keys mean power , purse means wealth ") —although this can be read as a simple record of their traditional symbolism. Another note reflects on the nature of beauty. In 1513 and 1514, Dürer experienced the death of a number of friends, followed by his mother ( whose portrait he drew in this period), engendering a grief that may be expressed in this engraving. Dürer mentions melancholy only once in his surviving writings. In an unfinished book for young artists, he cautions that too much exertion may lead one to "fall under the hand of melancholy".
Melencolia I is one of Dürer's three Meisterstiche ("master prints"), along with Knight, Death and the Devil (1513) and St. Jerome in His Study (1514). The prints are considered thematically related by some art historians, depicting labours that are intellectual ( Melencolia I ), moral ( Knight ), or spiritual ( St. Jerome) in nature.
Dürer includes the year in the two bottom squares, and the squares adding to 5 and 17 may refer to his mother's death in May of that year. (First number of second row is "5" and third row "9"). The print contains numerous references to mathematics and geometry.