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Die wunderbare Sau von Landser (The Monstrous Sow of Landser)

Albrecht%20D%26%23252%3Brer%2C%20%3Cb%3E%3Ci%3E%20Die%20wunderbare%20Sau%20von%20Landser%20%28The%20Monstrous%20Sow%20of%20Landser%29%3C%2Fi%3E%3C%2Fb%3E%2C%20ca.%201496%2C%20engraving%20on%20antique%20laid%20paper%2C%20The%20Mark%20Adams%20and%20Beth%20Van%20Hoesen%20Art%20Collection%2C%20public%20domain%2C%202007.59.2
Albrecht Dürer, Die wunderbare Sau von Landser (The Monstrous Sow of Landser), ca. 1496, engraving on antique laid paper, The Mark Adams and Beth Van Hoesen Art Collection, public domain, 2007.59.2

Albrecht%20D%26%23252%3Brer%2C%20%3Cb%3E%3Ci%3E%20Die%20wunderbare%20Sau%20von%20Landser%20%28The%20Monstrous%20Sow%20of%20Landser%29%3C%2Fi%3E%3C%2Fb%3E%2C%20ca.%201496%2C%20engraving%20on%20antique%20laid%20paper%2C%20The%20Mark%20Adams%20and%20Beth%20Van%20Hoesen%20Art%20Collection%2C%20public%20domain%2C%202007.59.2

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Details
Title

Die wunderbare Sau von Landser (The Monstrous Sow of Landser)

Artist

Albrecht Dürer (German, 1471-1528)

Date

ca. 1496

Medium

engraving on antique laid paper

Catalogue Raisonné

Meder 82 a (of h)

Dimensions (H x W x D)

plate: 4 3/4 in x 5 in

Inscriptions & Markings

signature: AD, in plate, lower center

Collection Area

Graphic Arts

Category

Prints

Object Type

intaglio print

Culture

German

Credit Line

The Mark Adams and Beth Van Hoesen Art Collection

Accession Number

2007.59.2

Copyright

public domain

Terms

engraving

intaglio printing

intaglio prints

laid paper

The Mark Adams and Beth Van Hoesen Art Collection

Description

This engraving by Albrecht Dürer, made when he was twenty-five, was inspired by a news story of the day. In 1496 an abnormal pig was born with two bodies, eight legs, four ears, and two tongues in the hamlet of Landser in the Austrian province of Sundgau (Alsace), some twelve miles northwest of Basel. Especially around 1500, as the millenium approached, such freakish births were perceived as portents of the end of the world. While Dürer, living in Nuremberg, did not see the animal, the poet and humanist Sebastian Brant, who lived in Basel, did, and he immediately penned verses for a broadsheet accompanied by a crude woodcut. It was from the broadsheet that Dürer borrowed the view of the village in the background. Rather than focus on the apocalyptic implications of the event, Dürer described the strange creature with the objectivity of a naturalist.

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