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Kaspar Hedio

Hans Baldung1543

Renaissance and Reformation. German Art in the Age of Dürer and Cranach

Renaissance and Reformation. German Art in the Age of Dürer and Cranach

Kaspar Hedio was an early and influential supporter of Luther and Zwingli on the Upper Rhine and from 1523 a preacher in the Cathedral of Strasbourg. He demonstrated his anti-Catholic, Reformer attitude by more than just his spiritual influence: in 1524 he married the daughter of a Strasbourg patrician. Hans Baldung Grien gave the successful author the face of a skeptical, studious intellectual.

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  • Title: Kaspar Hedio
  • Creator: Hans Baldung Grien
  • Date Created: 1543
  • Physical Dimensions: 17.5 × 13.8 cm
  • Technique and Material: Woodcut
  • Provenance: Old inventory, acquired before 1877
  • Museum: Staatliche Museen zu Berlin, Kupferstichkabinett
  • Inv.-No.: 936-2
  • ISIL-No.: DE-MUS-018511
  • External Link: http://www.smb.museum/museen-und-einrichtungen/kupferstichkabinett/home.html
  • Copyright: Photo © Staatliche Museen zu Berlin, Kupferstichkabinett/ Jörg P. Anders; Text © Renaissance and Reformation: German Art in the Age of Dürer and Cranach, A Cooperation of the Los Angeles County Museum of Art, the Staatliche Museen zu Berlin, the Staatliche Kunstsammlungen Dresden, and the Bayerische Staatsgemäldesammlungen München, Catalogue of the Exhibition at the Los Angeles County Museum of Art, Nov 20, 2016 – March 26, 2017, Munich: Prestel, 2016; cat. no. 108 / Michael Roth
  • Catalogue: https://prestelpublishing.randomhouse.de/book/Renaissance-and-Reformation/Stephanie-Buck/Prestel-com/e504919.rhd
  • Artist Dates: c. 1485 Schwäbisch Gmünd (?)–1545 Strasbourg
  • Artist Biography: Baldung, born into a family of intellectuals, entered Dürer’s workshop in 1503. There he worked on altarpieces and designs for stained glass and woodcuts. In 1509 he settled in Strasbourg, but he continued to accept commissions for the City of Freiburg and for Emperor Maximilian I (prayer book of 1515). Baldung, whose oeuvre includes both portraits and fantastic scenes (with witches), was considered by his contemporaries Dürer’s true artistic successor.

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