Phoebus-Verlag, 1950. This page was last edited on 27 December 2020, at 16:11. Hans Baldung, known as Hans Baldung Grien/Grün (c. 1484–1545) was a German Renaissance artist in painting and printmaking in woodcut.He was considered the most gifted student of Albrecht Dürer. At the age of 26, he married Margaretha Härlerin (née Herlin), with whom he had one child: Margarethe Baldungin. 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. Articles connexes; 5. Artist or Maker. D'autres projets ; biographie. 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. Exhibition catalogue, 5-8. These depictions were a large part of the artist's greater body of work containing several renowned pieces of the Virgin. View more lots. Hans Baldung, les Sept Étapes de la vie d'une femme. Throughout his lifetime, Baldung developed a distinctive style, full of color, expression and imagination. Medium: Woodcut; first of two states. Phoebus-Verlag, 1950. He joined in the fashion for chiaroscuro woodcuts, adding a tone block to a woodcut of 1510. The Moment of Self-Portraiture in German Renaissance Art. [13], Throughout his life, Baldung painted numerous portraits, known for their sharp characterizations. [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. He later included the name "Grien" in his monogram, and it has also been suggested that the name came from, or consciously echoed, "grienhals", a German word for witch—one of his signature themes. According to one view, Baldung's work did not represent widespread cultural beliefs at the time of creation but reflected largely individual choices. Hans Baldung, genannt/aka Grien,(Schwäbisch-Gmünd 1484/85 - Strasburg 1545 Der behexte Stallknecht - The bewitched groom (ca. Common terms and phrases. 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. Limit to works on view. Aller au contenu principal Hans Baldung, les Sept Étapes de la vie d'une femme. (22.4 × 15.9 cm) Classification: Prints. The number of Hans Baldung's religious works diminished with the Protestant Reformation, which generally repudiated church art as either wasteful or idolatrous. He worked mainly in woodcut, although he made six engravings, one very fine. Galerie d'images; 4. Dimensions: Block: 8 11/16 × 6 1/16 in. Section 1. 1484/85–1545 Strasbourg) Date: 1514. Hans Baldung. Instituts für Europaische Kulturgeschichte der Universitat Augsburg und der Staats-und Stadtbibliothek Augsburg, January-February, 1992. By contrast, throughout the early sixteenth century, humanism became very popular, and within this movement, Latin literature was valorized, particularly poetry and satire, some of which included views on witches that could be combined with witch lore massively accumulated in works such as the Malleus Maleficarum. Here, he may have been given his nickname "Grien". Like Dürer and Cranach, Baldung supported the Protestant Reformation. 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. Hans Baldung Grien: Bucholzschnitte aus Augsburger Bestanden. 1. biographie; 2. quelques oeuvres; 3. 6: Section 3. Artist: Hans Baldung (called Hans Baldung Grien) (German, Schwäbisch Gmünd (?) [4] His earliest training as an artist began around 1500 in the Upper Rhineland by an artist from Strasbourg. Hans Baldung Grien, La Vierge à l'Enfant endormi, 1520. Crédits : … Hans quickly picked up Dürer's influence and style, and they became good friends: Baldung managed Dürer's workshop during the latter's second sojourn in Venice. 13: 10 other sections not shown. On Dürer's death Baldung was sent a lock of his hair, which suggests a close friendship. [15], The earliest pictures assigned to him by some are altar-pieces with the monogram H. B. interlaced, and the date of 1496, in the monastery chapel of Lichtenthal near Baden-Baden. 1484/85–1545 Strasbourg) Date: 1510 Medium: Woodcut Accession: 48.13.2 On view in: Not on view The Met Fifth Avenue. 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. 0 Avis. Hans Baldung vécut au XVIe siècle, une époque de profonds bouleversements qui trouva un reflet dans son œuvre, réalisée principalement à Strasbourg. In a later trip to the Netherlands in 1521 Dürer's account book records that he took with him and sold prints by Baldung. Zapustil je ogromno del, portrete, lesoreze, oltarne slike, risbe, tapiserije, alegorije in mitološke motive. Le Maître Autel de la Cathédrale Notre-Dame de Fribourg est un retable, de Hans Baldung Grien peint entre 1512 et 1516 pour la Cathédrale Notre-Dame de Fribourg-en-Brisgau, en Allemagne.. Signature. Bil je vsestransko nadarjen. Baldung was born and raised in Schwäbisch Gmünd (Swabian Gmuend), East Wuerttemberg. [3] His uncle, Hieronymus Baldung, was a doctor in medicine, he had a son, Pius Hieronymus, that can be seen as Hans' cousin, who taught law at Freiburg, and became by 1527 chancellor of the Tyrol. Life. Hans Baldung Grien. index. Hans Baldung Grien ali Grün, nemški slikar, grafik, * 1484, † september 1545.. Baldung je bil nemški umetnik v slikarstvu in grafiki, najbolj nadarjen učenec Albrechta Dürerja.Razvil je prepoznaven slog, poln barv, izražanja in domišljije. Hans Baldung, dit Grien (en raison de sa prédilection pour la couleur verte), est un graveur, dessinateur, peintre et vitrailliste allemand de la Renaissance. "Il compte parmi les grands artistes du XVIe siècle germanique. Quelques dates dans la vie de Baldung. Hans Baldung. Most of his hundreds of woodcuts were commissioned for books, as was usual at the time; his "single-leaf" woodcuts (i.e. In the field of painting, his Eve, the Serpent and Death (National Gallery of Canada) shows his strengths well. But earlier, around the same time that he produced an important chiaroscuro woodcut of Adam and Eve, the artist became interested in themes related to death, the supernatural, witchcraft, sorcery, and the relation between the sexes. The son of a lawyer, he was born Hans Baldung at Schwäbisch Gmünd in Swabia, Germany and moved to Strassburg (now Strasbourg) in 1484. Because of its high artistic quality, this work was long attributed to Dürer, and another hand designated it as such with the Dürer monogram. Hans Baldung Grien (1978) Manierismus im Spätwerk Hans Baldung Griens (1966) Hans Baldung Grien und Albrecht Dürer in Nürnberg (1963) 1000 Fifth Avenue; New York, NY 10028; Phone: 212-535-7710; The Met Cloisters. Avis des internautes - Rédiger un commentaire. Hans Baldung, also called Baldung-Grien, (born c. 1484, Schwäbisch Gmünd, Württemberg [Germany]—died 1545, Imperial Free City of Strasbourg [now Strasbourg,]), painter and graphic artist, one of the most outstanding figures in northern Renaissance art. "Baldung and the Witches of Freiburg: The Evidence of Images", "Washington and Yale. Grien, Hans Baldung Source: The Oxford Dictionary of Art and Artists Author(s): Ian Chilvers Hans Baldung Grien. Explore museums and play with Art Transfer, Pocket Galleries, Art Selfie, and more. He became a celebrity of the town, and received many important commissions. 1993. Artist: Hans Baldung (called Hans Baldung Grien) (German, Schwäbisch Gmünd (?) This name is thought to have come foremost from a preference to the color green: he seems to have worn green clothing. 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. 1534) Kunsthalle Karlsruhe Hans Baldung, genannt Grien, ist einer der bedeutendsten und eigenwilligsten Künstler der deutschen Renaissance. Most famously, he depicted witches, also a local interest: Strasbourg's humanists studied witchcraft and its bishop was charged with finding and prosecuting witches. Saint Sebastian bound to a Tree - Hans Baldung Grien Christie's Online. In addition to traditional religious subjects, Baldung was concerned during these years with the profane theme of the imminence of death and with scenes of sorcery and witchcraft. Cet article est extrait de l'ouvrage Larousse « Dictionnaire de la peinture ». His talents were varied, and he produced a great and extensive variety of work including portraits, woodcuts, drawings, tapestries, altar… Chicago and London.Google Scholar. (22.1 × 15.4 cm) Sheet: 8 13/16 × 6 1/4 in. 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. [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. Contents. Ausgezeichneter, kräftiger Abdruck mit dem Dürer-Monogramm und einem bis zu 5 mm breiten Rändchen um die Einfassungslinie. Victime d’un incendie en 1947 et considéré comme irrécupérable, un tableau de Hans Baldung Grien (1484/85-1545) était relégué dans les réserves des Musées de Strasbourg. Catalogue de l'exposition présentée à la Staatliche Kunsthalle de Karlsruhe du 30 novembre 2019 au 9 mars 2020. 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. 1504 – 1507; Saint Sebastian ca. He perfected his art in Albrecht Dürer's studio in Nuremberg between 1503 and 1507. His exact date of birth is unknown. Aucun commentaire n'a été trouvé aux emplacements habituels. [12], Baldung was the first artist to heavily incorporate witches and witchcraft into his artwork (his mentor Albrecht Dürer had sporadically included them but not as prominently as Baldung would). Bearing of the Cross ca. 5: Section 2. Artist performance. Beginning in 1503, during the "Wanderjahre" ("Hiking years") required of artists of the time, Baldung became an assistant to Albrecht Dürer. His style became much more deliberately individual—a tendency art historians used to term "mannerist." Limit to works of classification: Nationality. [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. Flesh is a mere glaze under which the features are indicated by lines. Hans Baldung. [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. 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. His paintings are less important than his prints. Peintre et graveur allemand (Gmünd 1484/1485 – Strasbourg 1545). He helped introduce supernatural and erotic themes into German art, although these were already amply present in Dürer's work. 1504 – 1507; Der auferstandene Christus ca. Throughout his lifetime, he developed a distinctive style, full of colour, expression and imagination. In 1509, when Baldung's time in Nuremberg was complete, he moved back to Strasbourg and became a citizen there. Augsburg.Google Scholar. Flying was inherently attributed to witches by those who believed in the myth of the Sabbath (without their ability to fly, the myth fragmented), such as Baldung, which he depicted in works like "Witches Preparing for the Sabbath Flight" (1514). 1504 – 1507; The Nativity ca. Painter, copperplate engraver, commercial artist (male), draughtsman and design draughtsman. "The Martyrdom of St Sebastian and the Epiphany" (now Berlin, 1507), were painted for the market-church of Halle in Saxony.[16]. Born 1484 / 1485 in Schwäbisch Gmünd Died 1545 in Strasbourg. The long, forceful contour lines and the shorter, curved hatchings that imbue the drawing with plasticity and depth bear witness to Baldung Grien’s skill as a draftsman. They show little direct Italian influence. 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. [5][6], At the age of 26, Baldung married Margaretha (née Herlin),[b] with whom he had one child: Margarethe Baldungin.[7]. Vous trouverez ici quelques dates et repères historico-artistiques en rapport avec lui et son œuvre. 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. Another early work is a portrait of the emperor Maximilian, drawn in 1501 on a leaf of a sketch-book now in the print-room at Karlsruhe. À l'intérieur du livre . Hans Baldung Grien (1484 env.-1545) : Les Trois Âges de la femme et la Mort.Triptyque, 198 cm X 147 cm chaque panneau. Geglättete horizontale Mittelfalte sowie eine kleine Papierausdünnung verso, ansonsten schön. Hans Baldung dire Grien (Schwäbisch Gmünd, 1485 à propos - Strasbourg, septembre 1545) Ce fut un peintre, concepteur, graveur et xylographer allemand, contemporain et étudiant Albrecht Dürer. 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. Indeed, the influence of the master is visible, but the highly expressive gaze of the standard-bearer, his fear of death frozen into a memento mori, reveals that the drawing is very definitely a work by Baldung Grien. 05-feb-2016 - Explora el tablero "Hans Baldung Grien" de Alberto Pleguezuelos Porcel, que 108 personas siguen en Pinterest. 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. Hans Baldung, also known as “Grien,” created the pen-and-ink drawing Standard-Bearer, dated in his own hand in 1504, shortly after he had entered the workshop of Albrecht Dürer in Nuremberg. Hans Baldung Grien or Grün (c. 1484 – September 1545) was a German artist in painting and printmaking who was considered the most gifted student of Albrecht Dürer.Throughout his lifetime, Baldung developed a distinctive style, full of color, expression and imagination. 13 Works by Hans Baldung Grien. At a later period he had sittings with Margrave Christopher of Baden, Ottilia his wife, and all their children, and the picture containing these portraits is still in the gallery at Karlsruhe. We haven't found any reviews in the usual places. While Dürer rigorously details his models, Baldung's style differs by focusing more on the personality of the represented character, an abstract conception of the model's state of mind. Hans Baldung Grien (1485-1545), graveur, dessinateur, peintre et vitrailliste allemand. 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. Painting Lot Performance. 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.

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