Date: 16 September 2011 (Friday)<\/strong> Drapery\u2019s ability to delineate torsos and limbs, for its folds to evoke antique statuary and, as Leonardo\u2019s notebooks urged, \u201cgird the limbs they clothe” mesmerized his devotee Albrecht D\u00fcrer, the subject of this paper. D\u00fcrer might have seen Leonardo\u2019s oil sketches during his second trip to Italy in 1506, and isolated their subject matter, unusual support, and monochrome hue for his own astonishing blue-and green-ground sketches of draperies. D\u00fcrer attended scrupulously to crumples and drapery throughout his work in print as well; not just as isolated motifs but as bravura shows of facture, as indexes to very the act of creation, to supernatural visions. Joachim Sandrart, in the Teutsche Academie (1675-9), isolated D\u00fcrer\u2019s \u201cartful and natural folds (\u201ckunstreiche\/naturliche Falten\u201d) as the vectors of Italian impact in North Europe. And indeed, it was the D\u00fcrerian Faltenstil which, transmitted back south, entranced mid-sixteenth-century artists in Italy. D\u00fcrer wrote about folding in his treatises, and was concerned, above all, as were the Italian art theory he sought to domesticate, with the way folds in garments, drapery, paper, or skin related to the idea and processes of movement, the materialization of unpicturable forces like gravity or wind – or as the last century\u2019s most famous art historian of movement, Aby Warburg, put it: \u201cthe external causes of the image.\u201d These are all very different processes \u2013 to fold paper, to depict folds, to discern the \u201cformless\u201d aspects of an artwork\u2019s rhetorics \u2013 and this essay in now way means to imply that they are equitable or even similar. The following will simply posit some ways that folding – as an operation, rather than a motif – might supply a framework for thinking about D\u00fcrer\u2019s conception of the art object. Folds \u2013 and more specifically, folding – embodied how D\u00fcrer\u2019s work could be recognized and used, in two dimensions and, as we shall see, in three.<\/p>\n Speaker: Christopher P. Heuer<\/strong><\/p>\n Dr. Christopher P. Heuer is Assistant Professor in the Department of Art & Archaeology at Princeton University, where he holds the Class of 1931 Bicentennial Preceptorship. He is the author of The City Rehearsed: Object, Architecture, and Print in the Worlds of Hans Vredeman de Vries<\/em> (2008) and, along with four other collaborators, Vision and Communism<\/em> (2011). He is the recipient of Fulbright, Kress, Getty, Humboldt, Warhol, and Clark fellowships, among others, and his writing has appeared in The Oxford Art Journal, The Burlington Magazine, October, Artforum, Renaissance Quarterly<\/em> and elsewhere. He is currently at work on a book about art history and performance, and a larger project about movement in and of Renaissance art.<\/p>\n","protected":false},"excerpt":{"rendered":" Durer\u2019s Folds Date: 16 September 2011 (Friday) Time: 5:00pm Venue: Room 2.38, Main Building, HKU Drapery\u2019s ability to delineate torsos and limbs, for its folds to evoke antique statuary and, […]<\/p>\n","protected":false},"author":1,"featured_media":2530,"template":"","meta":{"_tribe_events_status":"","_tribe_events_status_reason":"","footnotes":""},"tags":[183],"tribe_events_cat":[17],"class_list":["post-2522","tribe_events","type-tribe_events","status-publish","has-post-thumbnail","hentry","tag-visitingscholar","tribe_events_cat-seminars","cat_seminars"],"_links":{"self":[{"href":"https:\/\/arthistory.hku.hk\/index.php\/wp-json\/wp\/v2\/tribe_events\/2522","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/arthistory.hku.hk\/index.php\/wp-json\/wp\/v2\/tribe_events"}],"about":[{"href":"https:\/\/arthistory.hku.hk\/index.php\/wp-json\/wp\/v2\/types\/tribe_events"}],"author":[{"embeddable":true,"href":"https:\/\/arthistory.hku.hk\/index.php\/wp-json\/wp\/v2\/users\/1"}],"version-history":[{"count":1,"href":"https:\/\/arthistory.hku.hk\/index.php\/wp-json\/wp\/v2\/tribe_events\/2522\/revisions"}],"predecessor-version":[{"id":2531,"href":"https:\/\/arthistory.hku.hk\/index.php\/wp-json\/wp\/v2\/tribe_events\/2522\/revisions\/2531"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/arthistory.hku.hk\/index.php\/wp-json\/wp\/v2\/media\/2530"}],"wp:attachment":[{"href":"https:\/\/arthistory.hku.hk\/index.php\/wp-json\/wp\/v2\/media?parent=2522"}],"wp:term":[{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/arthistory.hku.hk\/index.php\/wp-json\/wp\/v2\/tags?post=2522"},{"taxonomy":"tribe_events_cat","embeddable":true,"href":"https:\/\/arthistory.hku.hk\/index.php\/wp-json\/wp\/v2\/tribe_events_cat?post=2522"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
\nTime: 5:00pm<\/strong>
\nVenue: Room 2.38, Main Building, HKU<\/strong><\/p>\n