汉斯·巴尔东·格里恩Hans Baldung

汉斯·巴尔东·格里恩Hans Baldung（1484年——1545年9月），德国画家。

中文名汉斯·巴尔东·格里恩
外文名Hans Baldung
性别男
国籍德国
出生地施瓦本
出生日期1484年
逝世日期1545年9月
职业画家

早年生活

汉斯·巴尔东·格里恩出生在施瓦本地区，德国各地的1484年一个家庭的知识分子，学者和专业人士。他的父亲是一名律师，他的叔叔是一名医生，和其他许多他的家庭成员保持专业度。事实上，Baldung在他的家族中第一个男性不上大学，但是是第一个德国艺术家之一来自学术家庭。他最早的训练作为一个艺术家在上莱茵开始在1500左右从斯特拉斯堡的艺术家。

人生就如同丢勒的学生

1503年开始，Baldung是一天中最知名的以及德国艺术家学徒：杜勒。在这里，他可能已经给他的昵称名字被认为从偏好于绿色已经走到至上“Grien”：他似乎已经穿绿色的衣服。他可能也得到了这个绰号在丢勒的店，汉斯Schäufelein和汉斯·冯·休斯从库姆巴赫至少两个其他汉斯区分他。他后来收录在他的会标名称为“Grien”，而它也被建议命名从哪里来的，是有意识地回荡，“grienhals”，对于一个女巫德语词 - 他的签名主题之一。汉斯赶紧拿起丢勒的影响力和风格，他们成了好朋友：Baldung威尼斯后者的第二逗留期间，管理丢勒的车间。在他后来在1521年前往荷兰丢勒的日记表明，他带着他和Baldung出售打印。在丢勒的死亡Baldung被送到他的头发，这表明了亲密的友谊的锁。近他的学徒结束后，Grien监督生产的彩色玻璃，木刻和版画，因此开发了他们的亲和力。

斯特拉斯堡

1509年，当Baldung的学徒完成后，他回到斯特拉斯堡，成为公民那里。他成为了镇上的名人，并获得了许多重要的佣金。他娶玛格丽特赫林次年，加入了公会 “楚Steltz”，开了一个研讨会，并开始与HGB签约他的作品会标，他用他余下的职业生涯。他的风格也变得更加刻意个体的倾向一些艺术历史学家称之为“ 矫饰 ”。

巫术和宗教意象

除了传统的宗教题材，Baldung是这些年来死亡的迫近的亵渎主题，以巫术和魔法场面关注。他帮助引进超自然和色情主题融入德国艺术，虽然这些已经在他的大师的作品大量存在。最著名的是，他描绘的女巫，也有地方利益：斯特拉斯堡的人文主义研究巫术和它的主教负责寻找和起诉巫婆。他最具特色的画作规模小; 一系列令人费解的，往往色情寓言和神话作品。汉斯·巴尔东·格里恩与宗教改革不减宗教作品，一般否定教会艺术，无论是浪费或偶像崇拜的数量。但早些时候，大约在同一时间，他生产的亚当和夏娃，艺术家的极大兴趣，相关的死亡，超自然，巫术，巫术和两性之间的关系的主题。Baldung与巫术的魅力一直延续到他的职业生涯的结束。

工作

绘画

终其一生，Baldung画了许多画像，他们的尖锐刻画闻名。虽然丢勒严格的细节他的模型，Baldung的风格受到越来越注重人物代表，心灵的模型状态的一个抽象的概念的个性不同。Baldung最终定居在斯特拉斯堡，然后到弗赖堡，他在那里执行什么认为是他的杰作。在这里，在画的弗莱堡大教堂今天完整的十一面板祭坛，还是从处女的生活，包括报喜，探视，耶稣诞生，飞行到埃及，在十字架上，四圣徒和捐赠者描绘的场景。这些描述是艺术家的含圣母几个知名件作品更大的身体很大一部分。^[2]

一些分配给他的最早的照片是圣坛件与会标HB交错，与1496日期，利希滕塔尔附近的修道院教堂巴登-巴登。另一个早期的作品是的肖像皇帝马克西米利安，1501年在草图书的叶子在打印室在现在引起卡尔斯鲁厄。（现在的柏林，1507），“圣塞巴斯蒂安和顿悟的殉难”分别画了市场教会哈雷的萨克森州。^[3]

Baldung的印刷品，虽然Düreresque，在款式上，并经常在受到极个别的。他们展示什么直接意大利的影响。他的画比他的版画更重要。他的工作主要是在木刻，虽然他提出了六项版画，人们非常精细。他加入了时尚的明暗对比木刻，加入音块他的大部分数百木刻被委托书籍1510木刻，因为当时照常使用; 他的“单叶”木刻（即未打印的书籍插图）比100少了，虽然没有两个目录同意，以确切的数字。

非常规作为起草人，他对待人的形式往往是夸大和偏心（因此他的联动，在艺术历史文献，与欧洲的矫饰），而他的装饰风格，丰富的，不拘一格，如同到自觉“德”当代的应变limewood雕塑家，是同样与众不同。虽然Baldung已被普遍称为柯雷吉欧北方，他的作品是明显的，异构的颜色的好奇混合泳，其中纯黑色的对比与浅黄色，污灰色，红色不纯和发光的绿色。肉是一个单纯的釉料在其下的功能由线表示。^[3]

他的作品是显着从他的模型，丢勒，为野生和梦幻般的实力，其中一些显示文艺复兴沉着他们的个人主义出发，并为他们非凡的主题。在绘画领域，他的夏娃，蛇和死亡（加拿大国家美术馆）展示他的长处很好。有一个在“死神与少女”1517（巴塞尔）面板的特殊力量，在“天气女巫”（法兰克福），在“亚当”和“夏娃”（马德里），不朽的面板，并在他的许多强大肖像。Baldung最持久的努力是弗赖堡，在圣母的加冕，和十二门徒，圣母领报，探视，圣诞和飞行进入埃及，并在十字架，用的祭坛捐助者的画像，用一些奇特的权力执行那马丁Schongauer遗赠给施瓦本学校。^[3]

作为肖像画家，他是众所周知的。他提请查理五世，以及马克西米利安; 和他在慕尼黑画廊侯爵菲利普胸围告诉我们，他与巴登的统治家族早在1514连接在后一时期他曾与开庭巴登，Ottilia他的妻子和他们的孩子的侯爵克里斯托弗，并含有这些人像画面依然在卡尔斯鲁厄的画廊。就像丢勒和克拉纳赫，Baldung支持的新教改革。他出席了奥格斯堡饮食在1518年，他的一个木刻代表路德准神圣的幌子，保护下（或者通过启发）圣灵，一直徘徊在他鸽子的形状。^{[ 3]}

English Introduction

Early life

Hans Baldung was born in Swabia, Germany around the year 1484 to a family of intellectuals, academics and professionals. His father was a lawyer and his uncle was a doctor, and many other of his family members maintained professional degrees. 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. His earliest training as an artist began around 1500 in the Upper Rhineland by an artist from Strasbourg.

Life as a student of Dürer

Beginning in 1503, Baldung was an apprentice for the most well renowned German artist of the day: Albrecht Dürer. Here, he may have been given his nickname “Grien.” This name is thought to have come foremost from a preference to the color green: he seems to have worn green clothing. He probably also got this nickname to distinguish him from at least two other Hans’ in Dürer's shop, Hans Schäufelein and Hans Suess von Kulmbach. 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. 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. In his later trip to the Netherlands in 1521 Dürer's diary shows that he took with him and sold prints by Baldung. On Dürer's death Baldung was sent a lock of his hair, which suggests a close friendship. Near the end of his apprenticeship, Grien oversaw the production of stained glass, woodcuts and engravings, and therefore developed an affinity for them.

Strasbourg

In 1509, when Baldung’s apprenticeship was complete, he moved back to Strasbourg and became a citizen there. He became a celebrity of the town, and received many important commissions. The following year he married Margarethe Herlin, joined the guild "zur Steltz", opened a workshop, and began signing his works with the HGB monogram that he used for the rest of his career. His style also became much more deliberately individual—a tendency some art historians have termed "mannerist."

Witchcraft and religious imagery

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. He helped introduce supernatural and erotic themes into German art, although these were already amply present in his master's work. Most famously, he depicted witches, also a local interest: Strasbourg's humanists studied witchcraft and its bishop was charged with finding and prosecuting witches. His most characteristic paintings are small in scale; a series of puzzling, often erotic allegories and mythological works. The number of Hans Baldung's religious works diminished with the Protestant Reformation, which generally repudiated church art as either wasteful or idolatrous. But earlier, around the same time that he produced Adam and Eve, the artist became interested in themes related to death, the supernatural, witchcraft, sorcery, and the relation between the sexes. Baldung’s fascination with witchcraft lasted to the end of his career.

Work

Painting

Throughout his life, Baldung painted numerous portraits, known for their sharp characterizations. 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. Baldung settled eventually in Strasbourg and then to Freiburg im Breisgau, where he executed what is held to be his masterpiece. Here in painted an eleven-panel altarpiece for the Freiburg Cathedral, still intact today, depicting scenes from the life of the Virgin, including, The Annunciation, The Visitation, The Nativity, The Flight into Egypt, The Crucifixion, Four Saints and The Donators. These depictions were a large part of the artist’s greater body of work containing several renowned pieces of the Virgin.^[2]

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. 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 atKarlsruhe. "The Martyrdom of St Sebastian and the Epiphany" (now Berlin, 1507), were painted for the market-church of Halle in Saxony.^[3]

Baldung's prints, though Düreresque, are very individual in style, and often in subject. They show little direct Italian influence. His paintings are less important than his prints. He worked mainly inwoodcut, although he made six engravings, one very fine. He joined in the fashion for chiaroscuro woodcuts, adding a tone block to a woodcut of 1510. Most of his hundreds of woodcuts were commissioned for books, as was usual at the time; his "single-leaf" woodcuts (i.e. prints not for book illustration) are fewer than 100, though no two catalogues agree as to the exact number.

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. 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. Flesh is a mere glaze under which the features are indicated by lines.^[3]

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. In the field of painting, his Eve, the Serpent and Death (National Gallery of Canada) shows his strengths well. There is special force in the "Death and the Maiden" panel of 1517 (Basel), in the "Weather Witches" (Frankfurt), in the monumental panels of "Adam" and "Eve" (Madrid), and in his many powerful portraits. 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 Schongauerbequeathed to the Swabian school.^[3]

As a portrait painter he is well known. He drew Charles V, as well as Maximilian; and 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. 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. Like Dürer and Cranach, Baldung supported the Protestant Reformation. 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.^[3]

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美术百科参考资料

1、Hans Baldung