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Rowlands, John (1981). "Washington and Yale. Hans Baldung Grien". The Burlington Magazine. 123 (937): 263. ISSN 0007-6287. JSTOR 880364. |
Sullivan, Margaret A. (2000). "The Witches of Dürer and Hans Baldung Grien". Renaissance Quarterly. 53 (2): 333–401. doi:10.2307/2901872. ISSN 0034-4338. JSTOR 2901872. S2CID 191545286. |
Térey, Gábor (1894). "Verzeichniss der Gemälde des Hans Baldung Gen. Grien Zusammengestellt" [List of paintings by Hans Baldung called Grien compiled]. 1st. Strasbourg: J.H.E. Heitz. {{cite journal}}: Cite journal requires |journal= (help) |
von Pettenegg, Eduard Gaston Pöttickh (1877). "Neues Jahrbuch - Heraldisch-Genealogische Gesellschaft "Adler"" [New year book of the Heraldic-Genealogical Society "Eagle"] (in German). 4th. Graz: Heraldic-Genealogical Society "Adler". {{cite journal}}: Cite journal requires |journal= (help) |
Attribution: |
This article incorporates text from a publication now in the public domain: Chisholm, Hugh, ed. (1911). "Grün". Encyclopædia Britannica. Vol. 12 (11th ed.). Cambridge University Press. pp. 639–640. |
Bibliography |
External links |
Prints & People: A Social History of Printed Pictures, an exhibition catalog from The Metropolitan Museum of Art (fully available online as PDF), which contains material on Hans Baldung (see index) |
Article: Sacred and Profane: Christian Imagery and Witchcraft in Prints by Hans Baldung Grien, by Stan Parchin Archived 28 August 2007 at the Wayback Machine |
"Hans Baldung Grien", National Gallery of Art |
Hans Baldung in the "A World History of Art" |
Several of Baldung's witches and erotic prints |
Hans Leonhard Schäufelein (c. 1480–1540) was a German artist, as a painter and designer of woodcuts. |
Biography |
He was born in Nuremberg, probably studied under Wohlgemut, and then became the assistant of Dürer, whom he imitated. In 1512 he went to Augsburg and in 1515 removed to Nordlingen. |
He is a graceful narrator, and his types, though rarely accurately drawn, are attractive, but he lacks power and depth. Characteristic early paintings are the altarpiece at Ober Sankt Veit near Vienna (1502), "Scenes from the Life of Christ" (Dresden Gallery), and "St. Jerome" (Germanisches Nationalmuseum, Nuremberg). |
To his Nordlingen period belong his masterpiece, the so-called "Ziegler Altar" for St. George's Church (1521), part of which is still in the church, part in the museum; "Scenes from the Story of Judith," in the town hall; and the illuminated Psalter for Count von Ottingen, now in the Berlin print room. His most important woodcuts are those for the Theuerdank of Emperor Maximilian. |
Schäufelein created a playing card deck about 1535, which is regarded as a highlight in German 16th century playing card production. |
References |
This article incorporates text from a publication now in the public domain: Gilman, D. C.; Peck, H. T.; Colby, F. M., eds. (1905). New International Encyclopedia (1st ed.). New York: Dodd, Mead. {{cite encyclopedia}}: Missing or empty |title= (help) |
Hans Maler zu Schwaz (1480/1488–1526/1529) was a German painter born in Ulm and active as portraitist in the village of Schwaz, near Innsbruck. Maler may have trained with the German artist Bartholomäus Zeitblom, who was chief master of the School of Ulm between 1484 and 1517. He painted numerous portraits of members of the Habsburg court at Innsbruck as well as of wealthy merchants such as the Fuggers. |
Maler's two most important patrons were Ferdinand I of Austria, who at the time was Archduke (Later Emperor) and the celebrated Fuggers. Ferdinand is known to have commissioned at least three portraits of himself and four of his wife, Anna of Bohemia and Hungary. Maler also painted portraits in 1517 of Sebastian Andorfer, a successful metal maker and merchant from Schwaz. His portrait style rarely varied from his bust-format, where the subject's hands were not shown and without eye contact to the viewer. |
He received commissions early on in his career from Ferdinand's grandfather, Maximilian I and was also commissioned in 1508 for frescoes depicting the Habsburg family tree in Ambras Castle. |
Selected works |
1510 - Portrait of Mary of Burgundy (Vienna) |
1515 - Christ Bearing the Cross (Art Institute of Chicago, Chicago) |
1517 - Portrait of Sebastian Andorfer (Metropolitan Museum of Art, New York) |
1519 - Portrait of Anne of Hungary and Bohemia (Museo Thyssen-Bornemisza, Madrid) |
1520 - Portrait of Queen Anne of Hungary (Museo Thyssen-Bornemisza, Madrid) |
1521 - Portrait of A Beardless Man (Kunsthistorisches Museum, Vienna), was depicted on the obverse of 1965-1995 series of 500 German mark banknote |
1523 - Portrait of A Young Man (Private Collection) |
1524 - Portrait of Ferdinand of Castille (Uffizi Gallery, Florence) |
1524 - Portrait of Anton Fugger (Decín Castle, Czech Republic) |
1525 - Portrait du banquier Anton Fugger (Musée des Beaux-Arts de Bordeaux, France) |
1525 - Portrait of Anton Fugger (Allentown Art Museum, Pennsylvania) |
1525 - Portrait of Ulrich Fugger (Metropolitan Museum of Art, New York) |
1526 - Portrait of Matthäus Schwarz (Musée du Louvre, Paris) |
References |
External links |
Grove Dictionary of Art Biography Entry on Maler at www.artnet.com |
Hans Memling (also spelled Memlinc; c. 1430 – 11 August 1494) was a German-Flemish painter who worked in the tradition of Early Netherlandish painting. Born in the Middle Rhine region, he probably spent his childhood in Mainz. During his apprenticeship as a painter he moved to the Netherlands and spent time in the Brussels workshop of Rogier van der Weyden. In 1465 he was made a citizen of Bruges, where he became one of the leading artists and the master of a large workshop. A tax document from 1480 lists him among the wealthiest citizens. Memling's religious works often incorporated donor portraits of the clergymen, aristocrats, and burghers (bankers, merchants, and politicians) who were his patrons. These portraits built upon the styles which Memling learned in his youth. |
He married Anna de Valkenaere sometime between 1470 and 1480, and they had three children. Memling's art was rediscovered in the 19th century, attaining wide popularity. |
Life and works |
Born in Seligenstadt, near Frankfurt in the Middle Main region, Memling served his apprenticeship at Mainz or Cologne and later worked in the Low Countries under Rogier van der Weyden (c. 1455–1460) in Brussels, Duchy of Brabant. He then worked at Bruges, County of Flanders by 1465.He painted for the Hospitallers in 1479 and 1480. In 1477, when he was believed dead, he was under contract to create an altarpiece for the gild-chapel of the booksellers of Bruges. This altarpiece, Scenes of the Passion of Christ, is now in the Galleria Sabauda of Turin. The Last Judgment, which had been in Gdańsk since 1473 is now in the National Museum there. The Last Judgment was commissioned by Angelo Tani, erstwhile director of the Bruges branch of the Medici Bank, for a chapel at what is now the Badia Fiesolana in Fiesole. When the triptych is closed Tani and his wife are shown kneeling in prayer. It was shipped to Fiesole on a vessel that was captured by Danzig privateer Paul Beneke in April 1473. |
The oldest allusions to pictures connected to Memling point to his relations with the Burgundian court, which was held in Brussels. The inventories of Margaret of Austria, drawn up in 1524, allude to a triptych of the God of Pity by Rogier van der Weyden, of which the wings containing angels were painted by "Master Hans". |
Memling's painting of John the Baptist (c. 1470) is in the Munich Alte Pinakothek. He painted the Last Judgment in Gdańsk. |
Memling's portraits, in particular, were popular in Italy. According to Paula Nuttall, Memling's distinctive contribution to portraiture was his use of landscape backgrounds, characterized by "a balanced counterpoint between top and bottom, foreground and background: the head offset by the neutral expanse of sky, and the neutral area of the shoulders enlivened by the landscape detail beyond". Memling's portrait style influenced the work of numerous late-15th-century Italian painters, and is evident in works such as Raphael's Portraits of Agnolo and Maddalena Doni. Purchasers of his paintings include Cardinal Grimani and Cardinal Bembo at Venice, and the heads of the House of Medici at Florence. |
Other paintings include the Madonna and Saints (which passed from the Duchatel collection to the Louvre), the Virgin and Child (painted for Sir John Donne and now at the National Gallery, London), and the four attributed portraits in the Uffizi Gallery of Florence (including the Portrait of Folco Portinari), the Scenes from the Passion of Christ in the Galleria Sabauda of Turin and the Advent and Triumph of Christ |
Around 1492, Memling was commissioned to paint the Najera Altarpiece for the Benedictine Monastery of Santa Maria la Real in Najera, Rioja, Spain. The altarpiece, which was completed in Flanders, consisted of an image of God surrounded by angels playing a variety of musical instruments while atop a row of clouds before a golden background. Recent scholarship by Bart Fransen has determined that Gonzalo de Cabredo and Abbot Pablo Martinez commissioned the creation of this artwork. |
Memling became sufficiently prosperous that his name appears on a list of the 875 richest citizens of Bruges who were obligatory subscribers to the loan raised by Maximilian I of Austria, to finance hostilities towards France in 1480. Memling's name does not appear on subsequent subscription lists of this type. |
In his later years, he painted the Shrine of St Ursula in the museum of the hospital of Bruges, St Christopher and Saints (1484) in the academy, the Diptych of Maarten van Nieuwenhove in the hospital of Bruges, and a large Crucifixion, with scenes from the Passion, (1491) from the Lübeck Cathedral (Dom) of Lübeck, now in Lübeck's St. Annen Museum. Near the close of Memling's career, the registers of the painters' guild at Bruges give the names of two apprentices who served their time with Memling and paid dues on admission to the guild in 1480 and 1486. |
He died in Bruges. The trustees of his will appeared before the court of wards at Bruges on 10 December 1495, and records indicate Memling left behind several children and considerable property. |
Gallery |
Memling carpets |
There are four works by Memling that feature an oriental carpet. They are the triptych with the Virgin and Child Enthroned (Vienna, Kunsthistorisches Museum), the triptych of John Donne (London, National Gallery), the Virgin and Child Enthroned with a large family (Paris, Louvre), and the Flowers in a jug (Madrid, Thyssen-Bornemisza Museum). They all feature an indefinitely repeated pattern that is representative of an archaic strand of ornamentation in Turkoman carpets from Anatolia and Armenia. This type of carpet is named after Memling and is known as Memling carpets. They are characterized by guls with "hooked" lines radiating from a central body. |
See also |
The Adoration of the Magi (Memling) |
References and sources |
References |
Sources |
Borchert, Till-Holger (2005). Memling's Portraits. Thames & Hudson. ISBN 0-500-09326-1. |
Batari, Ferenc (1994). The "Memling" carpets in de Vos, Dirk, editor (1994). Essays Hans Memling. Essay bundle published with the catalogue of the exhibit Hans Memling, vijf eeuwen werkelijkheid en fictie in the Groeningen Museum, Brugge 12 August – 15 November 1994. |
This article incorporates text from a publication now in the public domain: Crowe, Joseph Archer; Konody, Paul George (1911). "Memlinc, Hans". In Chisholm, Hugh (ed.). Encyclopædia Britannica. Vol. 18 (11th ed.). Cambridge University Press. pp. 104–105. |
Further reading |
de Vos, Dirk (1994). Hans Memling: The Complete Works. Harry N Abrams. ISBN 0-8109-3649-6. |
External links |
Media related to Hans Memling at Wikimedia Commons |
Hans Memling on BALaT - Belgian Art Links and Tools (KIK-IRPA, Brussel) |
Petrus Christus: Renaissance master of Bruges |
Fifteenth- to eighteenth-century European paintings: France, Central Europe, the Netherlands, Spain, and Great Britain |
Hans Traut (25 January 1895 – 9 December 1974) was a German general during World War II. He was a recipient of the Knight's Cross of the Iron Cross with Oak Leaves of Nazi Germany. |
Traut surrendered to the Red Army troops in the course of the Soviet 1944 Vitebsk–Orsha Offensive. In 1947 he was convicted as a war criminal in the Soviet Union and sentenced to 25 years of forced labor. Traut was released in 1955. |
Awards and decorations |
Iron Cross (1914) 2nd Class (21 October 1914) & 1st Class (17 January 1917) |
Clasp to the Iron Cross (1939) 2nd Class (20 September 1939) & 1st Class (4 October 1939) |
Knight's Cross of the Iron Cross with Oak Leaves |
Knight's Cross on 5 August 1940 as Oberstleutnant and commander of I./Infanterie-Regiment 90 |
Oak Leaves on 23 January 1942 as Oberst and commander of Infanterie-Regiment 41 (mot.) and leader of 10th Infantry Division |
German Cross in Gold on 15 December 1943 as Generalleutnant and commander of the 78th Sturm Division |
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