Excerpt from Holbein
It is usual to name Durer and Holbein together in speaking of German Renaissance art of the at its zenith. But it would be wrong to attempt an immediate comparison of the two great masters with one another. The difference in age between them, more than a quarter of a century, is enough in itself to preclude this. It is a difference which counts for very much at a time so full of vigorous, stirring life as was the century of transition from the Middle Ages to modern times. Then, too, the greatness of the two masters lies in essentially different spheres. Durer's imagination had a creative force to which no other German painter has ever attained. In the gift of invention, in intelligence, in feeling and also in culture, Durer stands far above Holbein. But the latter, unlike Durer, was a true painter. Colour, to him, is not a mere cloak to the shapes which he calls into being; it is something essential, of the inmost being of his art; it is a means of expressing his artistic perception. Durer issued from a school which was still half under the sway of the Gothic style, and it was by his genius that he discovered the paths which the new art was to follow.
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