Witch hunters needed a way to circumvent the Cannon Episcopi and popularize the idea of witches' flight as feasible in order to better prosecute and convict people of being witches. Woodcut from Hans Curjel, Hans Baldung Grien, … Recommended . hexensabbat . Flesh is a mere glaze under which the features are indicated by lines. [1] Most peasants did not know about it, and even among theologians and witch hunters, the Sabbath did not necessarily play a large role in demonology. Hults, Linda C. "Baldung and the Witches of Freiburg: The Evidence of Images.". The most important evidence for deducing his date of birth (between 1484 and 1485) is a self-portrait drawing at age 49 which is preparatory to a 1534 woodcut. Because of his young age he was given the nickname Grien (Green). [4] Therefore, in order to attend a Sabbath, witches needed to be able to cross large distances in a short amount of time. [3], The unrestrained, flowing hair of the witches is also a sex symbol. During his lifetime there were few witch trials, therefore, some believe Baldung's depictions of witchcraft to be based on folklore rather than the cultural beliefs of his time. He entered Dürer's workshop in Nuremberg in 1503, and was entrusted with the running of it during Dürer's second Venetian trip in 1505-7. Bohn, Babette, and Saslow, James M., eds. The image also contains references to a blasphemy of mass and the witches' libidinous nature. The number of Hans Baldung's religious works diminished with the Protestant Reformation, which generally repudiated church art as either wasteful or idolatrous. Though Baldung has been commonly called the Correggio of the north, his compositions are a curious medley of glaring and heterogeneous colours, in which pure black is contrasted with pale yellow, dirty grey, impure red and glowing green. At the age of 26, he married Margaretha Härlerin (née Herlin), with whom he had one child: Margarethe Baldungin. "She-Devils, Harlots and Harridans in Northern Renaissance Prints." [10] On the other hand, through his family, Baldung stood as closer to the leading intellectuals of the day than any of his contemporaries, and could draw on a burgeoning literature on witchcraft, as well as on developing juridical and forensic strategies for witch-hunting. His patches of wispy hair and rotting skin mock her flowing tresses and supple flesh. New York: Basic Books, 1975. Baldung's most sustained effort is the altarpiece of Freiburg, where the Coronation of the Virgin, and the Twelve Apostles, the Annunciation, Visitation, Nativity and Flight into Egypt, and the Crucifixion, with portraits of donors, are executed with some of that fanciful power that Martin Schongauer bequeathed to the Swabian school. The Malleus maleficarum specifies that in women this carnal lust is "insatiable. Two altar wings (Charles the Great, St. George), Augsburg, State Gallery. [3], The witches in this image are designed to mock the Christian Mass and the Eurcharist. He perfected his art in Albrecht Dürer's studio in Nuremberg between 1503 and 1507. prints not for book illustration) are fewer than 100, though no two catalogues agree as to the exact number. His paintings are less important than his prints. Surrounded by human bones and animal familiars, a group of witches engage in naked revelry as they soar through the air and prepare food for the Sabbath. Catalogue Note. He joined in the fashion for chiaroscuro woodcuts, adding a tone block to a woodcut of 1510. The Virgin mourns her son, wiping her eyes with her veil. Unfollow . Rather than receive the body and blood of Christ, participants instead offered up human flesh to Satan. Sep 30, 2013 - Urs Graf, Kopie nach Hans Baldung Grien - Hexensabbat [1514] Albertina scan This woodcut depicts witches preparing to travel to a Witches' Sabbath by using flying ointment. Nevertheless, the artist is less renowned than other masters of his generation, such as Albrecht Dürer, Lucas Cranach and Hans Baldung Grien. Early witch hunters did not believe it possible for witches to fly or levitate. Hans Baldung (1484 or 1485 – September 1545), called Hans Baldung Grien, (being an early nickname, because of his predilection for the colour green), was an artist in painting and printmaking, engraver, draftsman, and stained glass artist, who was considered the most gifted student of Albrecht Dürer, whose art belongs to both German Renaissance and Mannerism. Witches' flight was later used in witch trials, specifically to discredit the husband's testimony. 3 (1985): 488-510. Abstract This study seeks to demonstrate that the timing, subject, and audience for the art of Dürer and Hans Baldung Grien all argue against the view that the witches in their prints and drawings were a reaction to actual witch-hunts, trials, or malevolent treatises such as the Malleus maleficiarum. He is partially covered by a burial shroud, but the spear wound on his side is visible. 581 II), Saint Martin on Horseback (Holl. The overall dimensions, framed, are 42 x 49 cm, the dimensions of the panel are 26 x 33 cm. 7 (1998): 41. "[3], The Malleus maleficarum also connects the lust of these witches to Eve, saying that Eve seduced Adam in the creation of original sin. [4] It's not possible to determine the identity or sex of this individual as only their legs and feet can be seen sticking out of the vapors. [3] The Malleus maleficarum states that witches are able to create storms and plagues with the help of Satan, citing the punishments inflicted on Job and the Pharaoh's magicians in the time of Moses who were able to recreate three of God's plagues. [10], Baldung also regularly incorporated scenes of witches flying in his art, a characteristic that had been contested centuries before his artwork came into being. The pot containing a flying potion and uneaten food also suggest they are carrying food to a larger gathering. In A Companion to Renaissance and Baroque Art, 402-21. Möhle, “Hans Baldung Grien: Zur Karlsruher Baldung-Ausstellung Sommer 1959,” p. 130. ", This page was last edited on 21 November 2020, at 20:43. Baldung's art simultaneously represents ideals presented in ancient Greek and Roman poetry, such as the pre-16th century notion that witches could control the weather, which Baldung is believed to have alluded to in his 1523 oil painting "Weather Witches", which showcases two attractive and naked witches in front of a stormy sky. Reblog. Martin, Thomas. This image is an inversion of the Christian Mass. [16], He is well known as a portrait painter, his works include historical pictures and portraits; among the latter may be named those of Maximilian I. and Charles V.[14] His bust of Margrave Philip in the Munich Gallery tells us that he was connected with the reigning family of Baden as early as 1514. “The Witches of Dürer and Hans Baldung Grien.” Renaissance Quarterly, vol. "Baldung and the Witches of Freiburg: The Evidence of Images", "Washington and Yale. Sale ends in. Hans Baldung Grien", "The Witches of Dürer and Hans Baldung Grien", "Verzeichniss der Gemälde des Hans Baldung Gen. Grien Zusammengestellt", "Neues Jahrbuch - Heraldisch-Genealogische Gesellschaft "Adler, Prints & People: A Social History of Printed Pictures, Article: Sacred and Profane: Christian Imagery and Witchcraft in Prints by Hans Baldung Grien, by Stan Parchin, Hans Baldung in the "A World History of Art", Several of Baldung's witches and erotic prints, Art in the Protestant Reformation and Counter-Reformation, https://en.wikipedia.org/w/index.php?title=Hans_Baldung&oldid=996601857, Wikipedia articles incorporating a citation from EB9, Articles incorporating a citation from the 1913 Catholic Encyclopedia with Wikisource reference, Wikipedia articles incorporating a citation from the 1911 Encyclopaedia Britannica with Wikisource reference, Wikipedia articles incorporating text from the 1911 Encyclopædia Britannica, Wikipedia articles with BIBSYS identifiers, Wikipedia articles with CANTIC identifiers, Wikipedia articles with CINII identifiers, Wikipedia articles with KULTURNAV identifiers, Wikipedia articles with RKDartists identifiers, Wikipedia articles with SELIBR identifiers, Wikipedia articles with SNAC-ID identifiers, Wikipedia articles with SUDOC identifiers, Wikipedia articles with TePapa identifiers, Wikipedia articles with Trove identifiers, Wikipedia articles with WORLDCATID identifiers, Creative Commons Attribution-ShareAlike License. G. von der Osten, Hans Baldung Grien, Gemälde und Dokumente, Berlin 1983, pp. [3] The flying witch's backward posture on indicates she is not in control of the goat, or where he is going. Scholars are in dispute on whether these witches are meant to be interpreted as humorous exaggeration of witch hunters' beliefs or a startling depiction meant to frighten Baldung's audience. Schuyler, Jane (1987). Hans quickly picked up Dürer's influence and style, and they became friends: Baldung seems to have managed Dürer's workshop during the latter's second sojourn in Venice. ), exh. This is the first print made by Baldung after becoming a master craftsman and leaving Dürer's workshop, as well as the first to feature his initials. Dates: 1484/1485 - 1545: Roles: Artist: Nationality: German: Surrounded by physicians, lawyers, and scholars, Hans Baldung Grien was one of the first German artists from a learned family. [3] The witch sitting on the left side of the image holds a chalice in her hand. The drawing is in private hands and is not in Koch, Zeichnungen. The following year he married Margarethe Herlin, a local merchant's daughter,[8] joined the guild "Zur Steltz",[3] opened a workshop, and began signing his works with the HGB monogram that he used for the rest of his career. 11-jul-2016 - Explora el tablero "Hans Baldung Grien" de Abraham T. Nava, que 119 personas siguen en Pinterest. 53, no. These depictions were a large part of the artist's greater body of work containing several renowned pieces of the Virgin. Overview / In-depth. [3] In it, the supposed witch confesses that witches kill infants in a way that suggests overlaying or natural causes. 333–401, Suzanne Boorsch, Nadine Orenstein "The Print in the North: The Age of Albrecht Durer and Lucas van Leyden. [4], At the time of the image's creation in 1510, the Sabbath was largely considered a fictional idea and not widely considered to be a legitimate threat. "The Nude Figure in Renaissance Art." Hans Baldung Grien: Artist dates: 1484/5 - 1545: Date made: 1512: Medium and support: Oil on oak: Dimensions: 112.3 x 89.1 cm: Inscription summary: Signed; Dated: Acquisition credit: Bought, 1894: Inventory number: NG1427: Location: Room 2: Art route(s) C: Collection: Main Collection: The Trinity and Mystic Pietà . Hans Baldung Grien: Kämpfende Hengste inmitten einer Gruppe von Wildpferden, 1534 . [2][3], Baldung and his mentor Albrecht Dürer created several images throughout their careers that dealt with this theme of witches. This is the first woodcut produced by Baldung after leaving the studio of his mentor, Albrecht Dürer, and one of the first Renaissance images to depict both witches that fly and a Witches' Sabbath. It was probably executed for Hans Bock von Gerstheim (d. Oct. 12, 1542), who, to my knowledge, was the only Bock named “Johann” during this period. [3] It was also thought that the witches would perform these sexual acts in front of their children. Near the end of his Nuremberg years, Grien oversaw the production by Dürer of stained glass, woodcuts and engravings, and therefore developed an affinity for these media and for the Nuremberg master's handing of them. [3] If true, then this bishop would be the only male in this image, excluding the animals. He probably also got this nickname to distinguish him from at least two other Hanses in Dürer's shop, Hans Schäufelein and Hans Suess von Kulmbach. Kunst für Alle Art Print/Poster: Hans Baldung-Grien Hexensabbat Picture, Fine Art Poster, 70x100 cm (28x39 inch): Amazon.co.uk: Kitchen & Home Baldung's prints, though Düreresque, are very individual in style, and often in subject. His most characteristic works in this area are small in scale and mostly in the medium of drawing; these include a series of puzzling, often erotic allegories and mythological works executed in quill pen and ink and white body color on primed paper. [3] The bones suggest cannibalism and infanticide, both referenced in Question XI of the first part of the Malleus maleficarum. Unconventional as a draughtsman, his treatment of human form is often exaggerated and eccentric (hence his linkage, in the art historical literature, with European Mannerism), whilst his ornamental style—profuse, eclectic, and akin to the self-consciously "German" strain of contemporary limewood sculptors—is equally distinctive. In the field of painting, his Eve, the Serpent and Death (National Gallery of Canada) shows his strengths well. Most of his hundreds of woodcuts were commissioned for books, as was usual at the time; his "single-leaf" woodcuts (i.e. Unfollow. [3] According to Jane Schuyler, Baldung's image suggests two instances of maleficia: the bones suggest a murder and the insects and toads in the jar vapors suggest a biblical plague. [3] Therefore, flight was a power witches would be able to use due to their connection with the devil. [3] The husband could testify that he had spent the entire night in bed at his wife's side, but witches' flight made it possible for the supposed witch to leave while the husband shut his eyes, fly away to attend the sabbath, and then come back before the husband awoke. [3] The witch in the middle also holds a dirty cloth above her head, referencing both the corporal and altar cloth a priest would use to display the monstrance. [3], On the upper-left of the image, to the left of the witch flying on a goat, there is a figure obscured by the vapors coming out of the unguent jar. Follow. Nov 11, 2018 - Explore Rick Prol's board "Hans Baldung Grien", followed by 337 people on Pinterest. The second goat, to the center-left behind the seated witches, bleats and uses one leg to grab a pitchfork holding sausages and a cooking pot.[3]. no. [3], It is important to note that the witches in Baldung's image are not actually at a Sabbath. [3] The cat is on the right by the base of the tree, and has its back turned to the viewer. The middle witch holds aloft the paten, a plate which would hold the sacramental bread. [3], Various bones surround the witches, including a human skull and a horse's skull. Hans Baldung Grien. [3], Church inquisitors recognized the goat as a form the devil may take, so it's possible that the goat in this image may be the devil in animal form. He was present at the diet of Augsburg in 1518, and one of his woodcuts represents Luther in quasi-saintly guise, under the protection of (or being inspired by) the Holy Spirit, which hovers over him in the shape of a dove. In this image by Baldung, the witches are using an unguent contained in a jar that will be used for flight. This woodcut depicts witches preparing to travel to a Witches' Sabbath by using flying ointment. Hans Baldung Grien (1484-1545) The Three Fates: Lachesis, Atropos and Clotho (Bartsch 44; Hollstein 236) woodcut, 1513, on laid paper, a rather dry, later impression, trimmed on or just inside the borderline, a pale stain at lower right, two horizontal printer's creases, generally in good condition; with The Last Judgement (Holl. It was invented earlier in 1508 and had already seen success in the prints of Lucas Cranach the Elder and Hans Burgkmair. Hans Baldung Grien's work depicting witches was produced in the first half of the 16th century, before witch hunting became a widespread cultural phenomenon in Europe. This name is thought to have come foremost from a preference to the color green: he seems to have worn green clothing. 4, reproduced plates 4 and 5, and colour plate 1; J. Sander in Albrecht Dürer. Hans Baldung Grien The Virgin Mary and Saint John the Evangelist stand in Christ’s red marble tomb supporting his lifeless body. [16], His works are notable for their individualistic departure from the Renaissance composure of his model, Dürer, for the wild and fantastic strength that some of them display, and for their remarkable themes. [3] Two of the witches sitting on the ground have their legs spread out, and the witch riding a goat poses in such a way that the pitchfork emerges from between her legs, suggesting a phallus. He stayed in Freiburg im Breisgau in 1513–1516 where he made, among other things, the High altar of the Freiburg Münster [de].[9]. His exact date of birth is unknown. [1] Witches were almost unknown by the public at large before the year 1500. [16], The Virgin as Queen of Heaven with the Christ Child in her arms, John of Patmos Kunsthistorisches Museum, Vienna, 1510, 16th century German painter and printmaker. He worked mainly in woodcut, although he made six engravings, one very fine. [3] Baldung, who had an attorney for a father and a professor for a brother, likely had access to the Malleaus maleficarum through his family members. '", Sullivan, Margaret A. Fribourg-en-Brisgau, Augustinermuseum, 2000-2001, p. 41. Cohn, Norman. [10] However, the separation of a satirical tone from deadly serious vilifying intent proves difficult to maintain for Baldung as it is for many other artists, including his rough contemporary Hieronymus Bosch. Hans Baldung Grien. Hans Baldung Grien (1484/85-11545) and his Circle Hans Baldung Grien received his education with Albrecht Dürer in Nuremberg, where he gained his surname Grien, meaning „The Green" (presumably because he mainly wore green). Beginning in 1503, during the "Wanderjahre" ("Hiking years") required of artists of the time, Baldung became an assistant to Albrecht Dürer. [4] The Malleus maleficarum provided biblical evidence for flight as a power of Satan, citing Matthew 4:8 where Satan lifts Jesus onto a mountain top to tempt him into submitting to the devil. [5] Sullivan points out that in early 1500's Germany witch trials and executions were actually relatively uncommon. exp. Hans Baldung was the son of Johann Baldung, an university-educated jurist, having since 1492 the office of legal adviser to the bishop of Strasbourg (Albert of Bavaria), and Margarethe Herlin, daughter of Arbogast Herlin, he was not propertyless, but with unknown occupation,[2] and his family living in this city, Hans made his apprenticeship there, with an artist remained unknown. Europe's Inner Demons: An Enquiry Inspired by the Great Witch-hunt. His oeuvre, which includes many mythological scenes, betrays the influence of the Italian Renaissance. The Witches (Hans Baldung) From Wikipedia, the free encyclopedia The Witches (formerly titled The Witches' Sabbath) is a chiaroscuro woodcut by German Renaissance artist Hans Baldung. There is a lack of feasting and dancing as a group, essential elements of a Sabbath. The skeletal figure gently holds her head, a gesture that belies the finality of his impending bite. [5][6], At the age of 26, Baldung married Margaretha (née Herlin),[b] with whom he had one child: Margarethe Baldungin.[7]. Explore museums and play with Art Transfer, Pocket Galleries, Art Selfie, and more. History Today 48, no. [3] This bread would be converted to the Body of Christ during the miracle of transubstantiation. Throughout his lifetime, he developed a distinctive style, full of colour, expression and imagination. MSRP: $279.00 $28.75 (You save $250.25) Sale ends in Hours. Hans Baldung, called Grien, was most probably born in Schwäbisch Gmünd in southwestern Germany, the site of the family home. [2] In fact, Baldung was the first male in his family not to attend university, but was one of the first German artists to come from an academic family. Columbus Centre Series. Hoak, Dale. He helped introduce supernatural and erotic themes into German art, although these were already amply present in Dürer's work. Hans Baldung (1484 or 1485 – September 1545), called Hans Baldung Grien,[a] (being an early nickname, because of his predilection for the colour green), was an artist in painting and printmaking, engraver, draftsman, and stained glass artist, who was considered the most gifted student of Albrecht Dürer, whose art belongs to both German Renaissance and Mannerism. Hans Baldung Grien (1484/5 - 1545) Baldung Grien was a 16th-century German artist who was active as a painter, printmaker and stained-glass designer. [3] Long hair could also hide witch's marks or charms, to this end inquisitors would often order that a suspected witch's body be shaved of all hair preceding a trial. Oxford: John Wiley & Sons, 2013. Gert von der Osten comments on this aspect of "Baldung [treating] his witches humorously, an attitude that reflects the dominant viewpoint of the humanists in Strasbourg at this time who viewed witchcraft as 'lustig,' a matter that was more amusing than serious". 2, 2000, pp. It has been pointed out that Hans Baldung was the only male member of his family not to receive a … Home » Collection » Baldung Grien, Hans. [1] Baldung and Dürer were both involved in humanist circles in Strasbourg, and humanists mostly considered witchcraft as "'lustig,' a matter that was more amusing than serious. Art historian Jane Schyler asserts that The Witches illustrates the beliefs of church inquisitors, and that its imagery is directly informed by the writings of the Malleus maleficarum. Notable works include Dürer's The Four Witches (1497) and Witch Riding Backwards On A Goat (1500), as well as Baldung's New Year’s Greeting with Three Witches (1514) and The Bewitched Groom (1544). Highly expressive paintings, Discover this artwork in our collection. [3], Maleficia were unexplained events that were attributed to witchcraft. Hans Baldung Grien German, 1484/1485 - 1545 Baldung, Hans Biography; Works of Art; Artist Bibliography; Related Content Filter results by: Works on View. [4] His earliest training as an artist began around 1500 in the Upper Rhineland by an artist from Strasbourg. Throughout his lifetime, he developed a distinctive style, full of colour, expression and imagination. Since 1509 till the end of his life he lived in Strasbourg, save for 1512-1516, when he painted the grandiose altar for the local cathedral in Freiburg. He first studied in Strasbourg or Swabia around 1499. The devil, in the form of an animal or a human, would copulate with all of the witches at the Sabbath. In a later trip to the Netherlands in 1521 Dürer's account book records that he took with him and sold prints by Baldung. [3] The Malleus also mentions how in Daniel 14:33-36, an angel flew Habakkuk to Babylon from Judea in only a few minutes, carrying the prophet by his hair. In 1509, when Baldung's time in Nuremberg was complete, he moved back to Strasbourg and became a citizen there. Baldung never worked directly with any Reformation leaders to spread religious ideals through his artwork, although living in fervently religious Strasbourg,[11] although he was a supporter of the movement, working on the high altar in the city of Münster, Germany. [3] The devil, as a fallen angel, would still have the ability to fly. Enter your search terms. Hans Baldung, also called Baldung-Grien, (born c. 1484, Schwäbisch Gmünd, Württemberg [Germany]—died 1545, Imperial Free City of Strasbourg [now Strasbourg, France]), painter and graphic artist, one of the most outstanding figures in northern Renaissance art. [3] Afterwards the infant's bodies are dug up so that they can be boiled in a cauldron. Paulus met zwaard From same collection. [1] The witches' nakedness also served as an artistic opportunity for Baldung to show his prowess in anatomy by depicting a female nude. His art in context, J. Sander (ed. ProQuest Ebook Central. [3] A partially hidden cauldron can be seen behind the middle witch. Hans was born in the small free city of Schwäbisch Gmünd (formerly Gmünd in Germany), a free city of the Empire, part of the East Württemberg region in former Swabia, Germany, in the year 1484 or 1485, into a family of intellectuals, academics and professionals, where his father was from and died in Strasbourg in September 1545. According to the Malleus maleficarum, loose hair would draw the devil's fascination and distract men during worship. [4] Witches' flight was also dismissed as fantasy by Alphonso de Spina in Fortalicium Fidei, Gianfrancesco Ponzinibio in Tractatus de Lamiis, Jean Bodin in De la demonomanie de les sorciers, and in the speeches of preacher Johann Geiler von Kaisersberg.[4]. This print was created in the city of Strasbourg, where Hans Baldung was working. The chiaroscuro woodcut was a printmaking technique where a color woodblock was used to add tone to the printed image. "The Martyrdom of St Sebastian and the Epiphany" (now Berlin, 1507), were painted for the market-church of Halle in Saxony.[16]. Baldung partook in this culture, producing not only many works depicting Strasbourg humanists and scenes from ancient art and literature, but what an earlier literature on the artist described as his satirical take on his depiction of witches. exp. Söding Ulrich, "Hans Baldung Grien in Freiburg : Themenwahl und Stilentwicklung", in Hans Baldung Grien in Freiburg, cat.