Hans Baldung

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Baldung, Hans


(nicknamed Grien). Born circa 1484-S5 in SchwäbischeGmünd(?), Württemberg; died 1545 in Strass-burg (present-day Strasbourg, France). German Renaissance painter and draftsman of the upper Rhine school. He was influenced by A. Dürer, in whose studio he worked from 1502 to 1504, and by M. Neithardt. He spent most of his life in Strassburg. Baldung’s art (portraits and religious compositions) is full of contradictions: Renaissance rationalism is combined with mysticism, and smoothly sculpted forms with broken rhythmic lines. His works include the main altar of the cathedral in Freiburg im Breisgau (1512–16) and Death and the Woman (1517, in the Public Art Collection, Basel).


Escherich, M. Hans Baldung-Grien, Bibliographie, 1509 bis 1915. Strassburg, 1916.
Curjel, H. Hans Baldung-Grien. Munich, 1923.
Fischer, O. Hans Baldung-Grien. Munich, 1939. Second edition:Munich, 1943.
Hans Baldung-Grien:Ausstellung, 1959[catalog]. Staatliche Kunst-halle, Karlsruhe [1959].
References in periodicals archive ?
While this material has been closely analyzed for Italy by Bette Talvacchia, an essay by Janey Levy on the Behams' erotic engravings remains isolated, except for some studies of erotically-charged female nudes by Durer and Baldung.
To this end, she has chosen artists from a broad range of contexts and cultures of early modern Europe: Durer, Baldung Grien, Francken, De Gheyn, Rosa, and Goya.
One of the main ways that they accomplish this task is by focusing on designs made by major name artists, such as Albrecht Durer, Hans Holbein, Hans Baldung, and Albrecht Altdorfer.
The Rape of Europa by Hans Baldung (1484/85-1545), c.
He is allowed many fewer words, and his discussions of antisemitic Altdorfer, Holbein (escaping into portraiture), misogynist Baldung Grien and the sexuality of Michelangelo's Saints Peter and Paul, or his Florentine Pieta and Nicodemism, are disappointingly cryptic.
This study seeks to demonstrate that the timing, subject, and audience for the art of Durer 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.
Breu's hand has also been recognised on two signatures of the Prayer Book of Maximilian, putting him in the company of Durer, Cranach, Altdorfer, Burgkmair, and Hans Baldung Grien, who also decorated pages of the book.
The Augsburg painter and graphic artist J[ddot{o}] Breu the Elder is a figure unjustly neglected by English-speaking scholars, who have tended to confine themselves to the canonical figures of D[ddot{u}]rer, Baldung, Grunewald or Holbein, and to favor oeuvre-centered studies.
The second half of the book places Durer's work in the immediate reception history, namely, next to the work of Hans Baldung Grien, who turns Direr both upside down and inside out.