Hans Baldung, called Grien
Master in the Age of Dürer

15.02.2011 to 15.05.2011


As part of the series of rotating studio exhibitions held in the Gemäldegalerie, the Kupferstichkabinett (Museum of Prints and Drawings) will unveil a selection of works by Hans Baldung Grien (1484/1485-1545) in mid February. The small show will again reveal how closely interwoven the two collections are, in terms of the works they contain.

Baldung, who received the epithet Grien ('The Green') during his time working at Albrecht Dürer's workshop in Nuremberg, was one of the most productive artists of the German Renaissance. He was a painter, draughtsman, copper-plate engraver, carver of woodcuts and designer of stained glass works and tapestries in Nuremberg, Halle, Stasbourg and Freiburg.

Baldung's lasting fame rests on his unique style and his openness to new subjects, as well as his original way of interpreting traditional motifs. The force of expression in 'The Fall of Man' from 1511, for instance, remains singular to this day, just as it does in 'The Bewitched Groom', dating from around 1544. For Baldung, such in part supernatural subjects were an intrinsic part of nature itself, which was of greater interest to him than the theoretical concerns surrounding geometrical perspective which so decisively characterised Italian art in the Renaissance. Highly appreciated by contemporaries in his own day, he was greeted as the ideal successor to Dürer.

As the leader of his own workshops in Strasbourg and Freiburg, Baldung created numerous paintings and altar panels, such as 'The Crucifixion' (on display in the Gemäldegalerie), whose motifs are also taken up in various works on paper. Thanks to this show, both forms of work are now open to comparison and can be viewed alongside each other.