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How Dürer shaped the modern world Philip Hoare explores how the artist’s obsession with science, magic and self-promotion paved the way for our existential age. In 1520 Albrecht Dürer travelled to Zeeland to see a whale stranded on the sands. A storm drove back his boat and by the following morning it had also blown the fabulous creature back out to sea. The artist never saw his whale, so instead he drew sea monsters, putting them together like Frankenstein out of bits of this and that: eel, unicorn, dolphin, crocodile, mermaid. The year before, Pope Leo X had received a Rosmer – a walrus – from a Norwegian bishop; not the entire creature, just its head, salted in a barrel like a dead naval hero. Dürer imagined the entire walrus and made a picture of it. The disconnect between the pickled head and imagined body parts lends Dürer’s creation the tragic pathos of Hans Christian Andersen’s little mermaid, who sells her soul to swap her tail for legs – the price of human love.
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