Dürer, the Large Piece of Turf

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Dürer, the Large Piece of Turf발음듣기

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(soft piano music) [Man] I feel like I need to get down on my knees, actually even lower than my knees.발음듣기

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I almost have to get down on my chest, have my chin on the ground, to really be able to look at this painting.발음듣기

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[Lady] That seems precisely what Durers view point was. I don't think I ever seen so many different colors of green.발음듣기

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[Man] We're looking at a great piece of turf by Albrecht Durer, the great German Renaissance Artist.발음듣기

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It's a watercolor. It's not very large on paper.발음듣기

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[Lady] In our day, this may not seem so unusual when people take photograph of flowers, of nature, we're use to images like this.발음듣기

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This was something really radical and new at the time to lavish this much intention on a very small piece of the natural world.발음듣기

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[Man] What a great expression of the Renaissance thinking.발음듣기

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That is that the world that we live in and not the heavenly [route 0:52]. Our world even at its most minute presence just an unparallel display of beauty.발음듣기

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Here we have an almost scientific investigation of just a small piece of turf.발음듣기

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[Lady] It's almost like a universe unto itself.발음듣기

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There's so much for our eye, different kinds of leaves, different kinds of blades of grass, moving in different directions.발음듣기

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[Man] You can see that there are dandelions that have yet to unfurl.발음듣기

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That's a relatively sallow space, he gives us what, maybe 24 inches in depth, but nevertheless, within that he does begin to work on it.발음듣기

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For instance, look at the broad-leaved plants, close to the bottom.발음듣기

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They grow up and their beautiful and diagonal.발음듣기

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It unfolds almost as if the plant is growing over time.발음듣기

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Nature at a moment in a specific place, that sense of specificity, makes this almost like a kind of enormously complex botanical study.발음듣기

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[Lady] Imagines the paint brush, it's pencil thin for the painting of those individual blades of grass.발음듣기

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[Man] It's also arbitrary as if he's just got down, as I said, on the ground and looked across and this is what was there.발음듣기

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[Lady] In other words, he could have found any area of a meadow, put himself down, and looked at this.발음듣기

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[Man] Well, it's interesting. Is it composed, or isn't it? It seems so uncomposed.발음듣기

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[Lady] It seems like he sat in a meadow, pulled out his paper, his watercolors, his drawing materials, and started to work.발음듣기

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[Man] In the Renaissance that's not what art is.발음듣기

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[Lady] They composed. They organize.발음듣기

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[Man] The question is, is this composed? Is this invention?발음듣기

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[Lady] Do you think this is composed?발음듣기

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[Man] I think it is. I think there is an attempt to achieve a kind of authenticity. I thinks he's done it brilliantly.발음듣기

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He certainly chose what he was including, and what he wasn't including.발음듣기

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Our eyes drawn from the bottom right, for instance, into the middle ground very slowly.발음듣기

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There's so many weeds that we have to move through and around, nevertheless, there is also the sense of the arbitrary, and the sense of multiplicity, and the sense of just the richness of form, as you mentioned, of all of those greens.발음듣기

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[Lady] That's something that I think is very Northern Renaissance.발음듣기

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This interest in multiplicity in variation, and the amount of time your eye can take to explore that variation.발음듣기

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[Man] This was made just at the beginning of the 16th century.발음듣기

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Think about what's happening at that moment. Michelangelo was working on his David, and it'll be done in the next year.발음듣기

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The moment where we generally think of the value of the body.발음듣기

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Here we have an artist almost a scientist who is observing the world even that which we step on that we just stand most often. (soft piano music)발음듣기

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