STANDARDS

Core Art Standards: VA3, VA4, VA11

CCSS: R1, R2, R8

Dürer’s Copyright Drama

Who decided it’s not OK to copy another artist’s work?

Albrecht Dürer (1471–1528), The Rhinoceros, 1515. Woodcut. The Metropolitan Museum of Art.

Albrecht Dürer, Self-Portrait, 1498. Oil on panel. Museo del Prado, Spain.

Dürer was also a painter, creating realistic works like this self-portrait.

For centuries, only churches and very wealthy people could afford to own art. Everything changed in the 15th century when artists started using printmaking processes to reproduce their art. For instance, by the beginning of the 16th century, German artist Albrecht Dürer (AL-brekt DUR-uhr), right, could reproduce an image many times. It was fast and relatively inexpensive, so he priced the prints accordingly.

Dürer achieved celebrity status for his highly detailed prints. Many showed subjects that common people would find interesting, like the rhinoceros above. The artist’s work became so popular that others began copying it and selling it as their own. 

Albrecht Dürer (1471–1528), The Rhinoceros, 1515. Woodcut. The Metropolitan Museum of Art.

Dürer designed this monogram to show a work was authentic. Unfortunately, it was so easy to copy the monogram that it wasn’t enough to protect the artist’s works.

Not happy about others profiting from his work, Dürer designed the monogram at left. He used it to show which works were really his. But people kept copying him anyway—including the monogram.

According to legend, when Dürer heard about an Italian artist named Marcantonio Raimondi selling copies of his work, the German artist decided enough was enough. He took Raimondi to court, where he was granted history’s first copyright for an image.

Celebrating his victory, Dürer exclaimed, “You crafty ones, strangers to work, and pilferers of other men’s brains. Think not rashly to lay your thievish hands upon my works.” He threatened any who considered copying him, saying, “If you do so . . . not only will your goods be confiscated, but your bodies also placed in mortal danger.”

Despite Dürer’s bluster, the court did give Raimondi permission to reproduce Dürer’s prints—he just had to make it clear that they were copies.

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