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    The Meaning of Hans Baldung Bewitched Groom

    Uploaded by

    Albert Lance
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    © All Rights Reserved
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    Art, Culture, and Mentality in Renaissance Societ} Baldung Grien’s Bewitched Groom (1544) ‘The Meaning of Hans Dale Hoak Renaissance Quarterly, Vol, 38, No. 3. (Autumn, 1985), pp. 488-510. Stable URL: ‘tips links jstor.og/sici?sici—G0344338%28 19852342938 %IAI“ICAIVHIAACAMIRGIEL.0.COWIB2D Renaissance Quarterly is eurreatly published by Renaissance Society of America, ‘Your use of the ISTOR archive indicates your acceptance of [STOR’s Terms and Conditions of Use, available at hntp: eww jstor org/aboutiterms.htenl. JSTOR's Terms and Conditions of Use provides, in par, that unless you have obtained prior permission, you may not dowsload an entire issue of a journal or multiple copies of articles, and you may use content in the [STOR archive only for your personal, non-commercial use. Please contact the publisher regarding ay further use ofthis work. Publisher contact information may be abtained at tp jor or@dournalsa ha Bach copy of any part ofa JSTOR transmission must contain the same copyright notice that appears on the sereen or printed page of such transmission, ISTOR isan independent not-for-profit organization dedicated to creating and preserving a digital archive of scholarly journals. For more information regarding ISTOR, please contact suppon @jstor-org. bup:tvwo jstor.orgy Tue Nov 7 15:06:32 2006 Art, Culture, and Mentality in Renaissance Society: The Meaning of Hans Baldung Grien’s Bewitched Groom (1544)* by Date Hoax F the study of early modem society, Renaissance art often pro- vides an extraordinary means of exploring visually the values and assumptions, attitudes, and modes of perception of those who inhabited, mentally and materially, the world of traditional, pre- industrial Europe. The work of Hans Baldung dit Grien (1484/85- 41543), a Swabian painter, illustrator, and designer of stained glass,! illuminates one of the most familiar and yet least understood aspects of this world, the mentality of those who believed that some wamen were capable of influencing 4 man's sexual nature by means of witch- craft. Ina series of prints and drawings executed between 1570 and 1544, Baldung portrayed various aspects of the alleged activities of witches, As contributions to the iconography of witchcraft, these Hexenbilder were without artistic precedent, Indeed, the chiaroscuro woodcut of Witches (1510) about to depart for the sabbath (Fig. 1) A facaley research grant from che College of William and Mary supported my ‘work on this topic in 1982. Eatlie wersions ofthe paper were presented tothe Medie- val History Society in the University of Cambridge, Gonville and Caivs College, 3 December 98, the Mid-Atlantic Renaisance-Reformation Seminar, Folger Shakes~ peare Library, Washington, D.C., 13 November 1982, andthe Renaissance Society of ‘Armerica, Huntington Library, San Marina, Califorala, a2 March tas, Foc their en- ‘ouragement, criticism or asistance at various stages [owe special ehancs to Caroline Backlund, Eric Chamberlain, Miles Chappell, Miriam Cheisman, Craig Harbison, Jolin Headley, James Marrow, Erik Midelfact, Bob Scribner, and Alan Shescack, ‘for biographical deals, cf, Casl Koch, “Hans Baldung Gren,” Die Groen Deatchen: Deuce Bicgraphie (Berlin, 1950), (, 4o1-r9. Thomas A. Brady, Jr has dd importane new information in "The Sail Place ofa German Renaissance Are fst Hans Baldung Gren (1484/85-1543) 38 Secahourg." Cental Ecopecn Hitry, § (0375). 395-115. Fora review of the caize ahistorical erature, se Koch, Die Zl sagen Hans Baidang Grin (Bedi, 1943), pp 6-66. The most hep recent asses mene of Baldung’s oust Is Hans Baldung Gries (Kalaruhe, 1950), catalogue of an ehbiion atthe Kurathalle Karlsruhe, to which may be added ect won der Ont, ans Balang Grin: Genald nd Dokument (Bers, 1983). Un English 3 brie inteo™

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