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Hinrich Sieveking German Draughtsmanship in the Ages of Dürer and Goethe: Parallels and Resonance In German art history, drawing assumed a leading role in two illumination in an Austrian missal of 1492, in which the artist, periods: around 1500, the age of Dürer, and around 1800, the while copying the motif of the falcon attacking the heron age of Goethe or the Romantic era. The correspondences from the earlier model, used colour in the bird’s plumage, between ideas, themes, and practices in the drawings of these which indicates at least a slight interest in the observation of periods are the subject of this article. I will first discuss the nature (Pl.2).2 interesting phenomenon of the parallels between the ages of Prints by Martin Schongauer were already disseminated Dürer and Goethe in the development of autonomous widely during his lifetime. His engraving of a woman spilling draughtsmanship. This introduction is essential for oil from her lamp (Pl. 3),3 part of a series illustrating the understanding the various ways that the art of Dürer, in biblical parable of the Wise and Foolish Virgins, served as the particular, as well as that of his contemporaries, was received model for a drawing by an unidentified artist of the late 15th by early 19th-century German artists. century (Pl.4).4 The copy, although close to the engraving The visual arts of both periods show strong graphic and its stereotypical character, exhibits a more individualized tendencies, and their most eminent artists produced expression of sorrow in the woman’s face, apparently important works as draughtsmen. Many artists – and this observed from life. Taken together, these two images reflect a applies particularly to the period of Goethe largely because a