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Baldung Grien, a journeyman in Dürer’s workshop, is considered one of the most original artists of the first half of the sixteenth century. One characteristic aspect of his diverse oeuvre consisted of nudes and scenes of witches in which he showed seductive and deceptive beauty. This magnificently dressed woman holding a coat of arms belongs in that context; her cloven hoof points to her diabolical nature.

Details

  • Title: Woman Holding Coat of Arms
  • Creator: Hans Baldung Grien
  • Date Created: 1503
  • Physical Dimensions: 22.5 × 13.5 cm
  • Technique and Material: Pen and black ink over charcoal preliminary drawing
  • Provenance: Acquired in 1890 at the auction of the William Mitchell Collection, London, Kunsthandlung Prestel, Frankfurt am Main by way of Franz Meyer, Dresden
  • Museum: Staatliche Kunstsammlungen Dresden, Kupferstich-Kabinett
  • Inv.-No.: C 1890–21
  • ISIL-No.: DE-MUS-845516
  • External Link: http://www.skd.museum/de/museen-institutionen/residenzschloss/kupferstich-kabinett/
  • Copyright: Photo © Staatliche Kunstsammlungen Dresden, Kupferstich-Kabinett/ Herbert Boswank; 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. 65 / Claudia Schnitzer
  • 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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