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This article addresses the genesis and reception of three engravings representing peasants made by Albrecht Dürer between the years 1514 and 1519. These images have been interpreted as social commentary or low-brow farce; I argue their importance is art theoretical. In my view, they are the result of Dürer's 1505-6 visit to Venice, where Italian artists derided his ability to work in a classical idiom. In response, I argue, Dürer developed a method of imitation that I call "inverse citation," which veils a famous antique model in the guise of a boorish peasant. Following Luther's rebellion against the Church, northern artists took up this technique with more polemical aims. [ABSTRACT FROM AUTHOR]

The article explores the history of the 1595 engraving "Sine Baccho et Cerere Friget Venus" by artist Hendrick Goltzius. The author reflects on the engraving in a plate of silver and the art of printmaking with base and noble metals such as gold. Topics discussed include the work of artist Albrecht Dürer, portrait engraving, and related works such as "Paniere Farnese" by artist Francesco Villamena. Other topics include the art collecting of Emperor Rudolf II, the influence of sculptor Michelangelo Buonarotti, and the reconciliation of honor and wealth in art.

The article presents information about the interpretation of an engraving by Renaissance German artist Albrecht Dürer. Interpretive theories by various art historians such as Peter-Klaus Schuster are discussed, but the author notes that room remains for further studies of the meanings in Dürer's work "Melancolia I." An examination is given of the thematic element of justice in the engraving. References are made to Greek and Roman mythology, works by medieval scholar Boethius, and the story of Biblical figure Noah and the Flood.