antique oil painting old master Baldung Hans

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Hans Baldung
German Northern Renaissance painter, printmaker, bookmaker, graphic designer & stained glass artist
born 1484 - died 1545

Also known as: Hans Baldung Grien, Hans Baldung Grien, Hans Baldung Grun.
Student of: Albrecht Dürer (1471-1528).
Collaborated with: Hans Weiditz, I (1475-1516).

Baldung Grien, Hans (b. 1484-85, Schwäbisch-Gmünd, Württemberg (now Germany); d. 1545, Imperial Free City of Strasbourg (now France)). German painter and graphic artist. Hans Baldung probably trained with Dürer in Nuremberg, but Hans Baldung’s brilliant color, expressive use of distortion, and taste for the gruesome bring him closer in spirit to Hans Baldung’s other great German contemporary, Grünewald.

Hans Baldung, called Grien, was most probably born in Schwäbisch Gmünd in southwestern Germany, the site of the family home. The most important evidence for deducing Hans Baldung’s date of birth (between 1484 and 1485) is a self-portrait drawing at age 49 which is preparatory to a 1534 woodcut. It has been pointed out that Hans Baldung was the only male member of Hans Baldung’s family not to receive a university education, for unlike many artists, Hans Baldung belonged to a family of academics, intellectuals, and professionals: Hans Baldung was surrounded by physicians, lawyers and scholars. Hans Baldung’s father was an attorney who seems by 1492 to have settled in Alsace. It is usually assumed that Baldung's earliest training took place around 1499/1500 in the Upper Rhine, perhaps with a Strasbourg artist, but an apprenticeship in Swabia has also been suggested. Hans Baldung probably trained with a painter from Martin Schongauer's school.

Baldung and Dürer
By 1503 Baldung had moved to Nuremberg and had become a member of Albrecht Dürer's workshop. It was probably here that Hans Baldung acquired the nickname "Grien", perhaps a reference to Hans Baldung’s use of the color green or a preference for green attire -- Hans Baldung has a marked affinity for the color green, and many of Hans Baldung’s religious scenes are bathed in a weird, supernatural glow. It could also have distinguished him from Hans Schäufelein, Hans Süss von Kulmbach, and Hans Dürer, Albrecht's younger brother, all of whom were in Dürer's atelier. Baldung immediately absorbed Dürer's formal vocabulary, as is evident in one of Hans Baldung’s earliest dated works, the 1503 pen drawing of Aristotle and Phyllis. THans Baldung’s picture symbolizes the power of the women by representing the phylosopher Aristotle as Hans Baldung brings on Hans Baldung’s back Hans Baldung’s lover, Phyllis. THans Baldung’s story was often pictured by Renaissance artists.

In 1505 Hans Baldung produced alongside Dürer most of the woodcuts from Ulrich Pinder's book, Beschlossen Gart, and after Dürer's departure to Italy in 1505, Hans Baldung illustrated Speculum Passionis from the same author. It is quite possible that Baldung became head of the workshop during Dürer's second journey to Italy in 1505-1507, and these years saw the production of designs for stained glass, woodcuts from 1505 on, and engravings beginning in 1507. Dürer and Baldung remained lifelong friends, and on Hans Baldung’s trip to the Netherlands Dürer took along some of Baldung's woodcuts to sell.

In 1507 Baldung was probably in Halle where Hans Baldung had received commissions for two altarpieces, the triptychs of The Adoration of the Magi (Berlin) and Saint Sebastian (Nürnberg museum). Although still displaying some clumsiness, colors are surprisingly sure, and Baldung's self-esteem is revealed by the fact that Hans Baldung drew a self-portrait behind the main character at the center of the retable of Saint Sebastian.

Strasbourg
In 1509 the artist returned to Strasbourg and became a citizen. Hans Baldung soon became famous, and later even became a member of the town council. The following year Hans Baldung married Margarethe Herlin, joined the guild "zur Steltz", opened a workshop, and began signing Hans Baldung’s works with the HGB monogram that Hans Baldung used for the rest of Hans Baldung’s career. 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. Hans Baldung was responsible for introducing supernatural and erotic themes into German art. Hans Baldung often depicted witches, also a local interest: Strasbourg's humanists studied witchcraft and its bishop was charged with ferreting out witches.

Along with Cranach and Hans Burgkmair, Hans Baldung was one of the earliest masters of the chiaroscuro woodcut.

Hans Baldung’s most characteristic paintings are fairly small in scale; a series of puzzling, often erotic allegories and mythological works, exemplified by Death Kissing a Maiden (1517, Öffentliche Kunstsammlung, Basel) involve the motif of a female nude threatened by a grotesque skeleton, a subject Hans Baldung treated several times. In The Three Ages of Woman and Death (Kunsthistorisches Museum, Vienna, c. 1510), the beauty of the human body is confronted with the appalling image of Death, represented as a cadaver similar to the allegory of the Vanitas, inspired by the Middle-Ages macabre dances.

He also painted religious scenes: two Crucifixion (Berlin and Basel), The Mass of St. Gregory (Cleveland Museum of Art, Ohio, USA), a Nativity (Basel), and many representation of The Rest during the Flight into Egypt (Vienna and Nürnberg). Dürer's influence can still be spotted, although the composition reveals a clarity and a unique personal spirituality.

Hans Baldung’s masterpiece: the retable of the Freiburg cathedral
In 1512 Baldung moved to Freiburg im Breisgau to work on Hans Baldung’s largest and most important commission, the multi-paneled high altar of the Münster (Freiburg Cathedral, eleven panels, still in place today), containing on the center panel the radiant Coronation of the Virgin; on the sides, The Apostles; the outside panels depict scenes from the life of the Virgin, The Annunciation, The Visitation, The Nativity and The Flight into Egypt; at the back, The Crucifixion, four Saints and The Donators.

It's one of the few monumental retables that is still kept in place today at the original location. The layout and light effects are inspired by Grünewald, who works at Isenheim at the same period. The same expressions can be found in the Christ Lamentation (Berlin), painted around 1516. Around 1514-15 Hans Baldung also painted for Freiburg's cathedral two panels of the Schnewlin retable: The Baptism of Christ and Saint John on Patmos (Freiburg).

Mannerism
The altarpiece was not completed until 1516 and Baldung returned to Strasbourg early in 1517 where, as far as we know, Hans Baldung remained for the rest of Hans Baldung’s life. From the 1520's onward the pictorial and psychological content of Hans Baldung’s work becomes increasingly mannered, reflecting in part exposure to Italian art. Hans Baldung’s style developed Mannerist features: clashing colors and sinuous line combined with naturalistic detail. The 1516 Déluge (Flood) (Bamberg) reveals already tHans Baldung’s duality, with a very animated composition and dissonant colors.

The Adam and Eve series

Baldung's wild imagination and exaltation is reflected in allegories and mythological themes such as the impressive Witches (Frankfurt, 1523), full of diabolism and sensuality, influenced by superstitions of the Reformation century. Hans Baldung had depicted the same subject before in drawings and etchings.

Toward the end of Hans Baldung’s life, Baldung increasingly represented secular subjects, reflecting the Reformation's constraints on religious art. Although Baldung continued to produce religious subjects for private patrons, Hans Baldung increasingly painted portraits or scenes from ancient legends, mythology and history, such as Pyramus and Thisbe (Berlin, 1530), Hercules and Antaeus (Breslau, 1530-31), Mucius Scaevola (Dresden, 1531). Such works illustrate the transition from Renaissance to Mannerism.

THans Baldung’s mannerist spirit is highlighted and accentuated in the works produced during the last 20 years of Hans Baldung’s life in Strasbourg. Figures now have complex attitudes and abandonned the human body classical proportions learnt from Albrecht Dürer. Some of Hans Baldung’s artworks resemble those of Cranach the Elder. Mannerist tendencies are also visible in religious artworks. Hans Baldung’s multiple Virgin with Child (Nürnberg, Berlin, Strasbourg) reveal the influence of Jan Gossaert (c.1487-c.1536) and of 15th century Gothic painting.

Baldung's Portraits
Throughout Hans Baldung’s life Baldung painted numerous portraits, known for their sharp characterizations. While Dürer rigorously details Hans Baldung’s 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.

Portrait of a Lady

At the time of Hans Baldung’s death in September, 1545, Baldung was a member of the city council of Strasbourg and one of that city's richest citizens. Hans Baldung’s artistic estate went to Nicolaus Kremer, who was probably a pupil.

Hans Baldung Grien was Dürer's most inventive and talented disciple, who nonetheless achieved a distinctive style. Baldung's work was expressionistic, imaginative and vividly colorful. Hans Baldung’s output was varied and extensive, including religious works, allegories and mythologies, portraits, designs for stained glass and tapestries, and a large body of graphic work, particularly book illustrations. Baldung's oeuvre consists of approximately 90 paintings and altarpieces, about 350 drawings and 180 woodcuts and book illustrations.
Eroticism is often strongly present in Hans Baldung’s engravings, the best known of which is The Bewitched Groom (1544), which has been interpreted as an allegory of lust.

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