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Article
Author(s)
Bonnie J. Noble
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DOI:10.17265/2159-5836/2014.09.004
Affiliation(s)
University of North Carolina at Charlotte, Charlotte, USA
ABSTRACT
The 16th-century Protestant Reformation shattered the foundations of faith and art. As traditional theology was both besieged and defended, art had to adapt. Of course, a new theology needed new kinds of pictorial extrapolations. But truly, the most interesting change was hidden in plain sight. Subjects that may have looked familiar were in fact utterly new, because subversive ideas and contexts uprooted older meanings. The painting Madonna with Parrots (1533), by Hans Baldung Grien demoted the chaste protectress by transforming her into a flawed, even dangerous, human mother. In the painting, an oddly sultry Virgin shows off her breast, her shoulder, and her chest as a parrot nibbles her neck. The complexities of Baldung’s painting underpin debates about the status of the Virgin during the Reformation and the freedom of an artist to tamper with sacred subject matter.
KEYWORDS
Virgin, Madonna, Reformation, Witch, Hans Baldung Grien, Renaissance, Albrecht Dürer
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References
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Bartrum, G. (1995). German Renaissance prints, 1490-1550. London: British Museum Press.
Baxandall, M. (1980). The Limewood Sculptors of Renaissance Germany. New Haven: Yale University Press.
Behringer, W. (2008).Weather, Hunger, and Fear. In D. Oldridge, Reader (pp. 74-85). London; New York : Routledge.
Belting, H. (1994). Likeness and presence. Chicago: University of Chicago Press.
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Bleyerveld, Y. (2001). Chaste, Obedient and Devout: Biblical women as patterns of female virtue in Netherlandish and German graphic art, ca. 1500-1750. Simiolus, 28, 219-250.
Boehrer, B. (2004). Parrot culture. Philadelphia: University of Pennsylvania Press.
Boehrer, B. T. (2010). Animal characters: Nonhuman beings in early modern literature. Philadelphia: University of Pennsylvania Press.
Brady, T. (1975). The social place of a German Renaissance artist: Hans Baldung Grien (1484/5-1545). Central European History, 8, 295-315.
Brecht, B., & Jeske, W. (1999). Mutter Courage und ihre Kinder: eine ChronikausdemDreissigjährigen Krieg (Mother courage and herchildren. A chronical from theThirty-YearsWar). Frankfurt: Suhrkamp.
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Cohen, S. (2008). Animals as disguised symbols in Renaissance art. Leiden and Boston: Brill.
Davis, W. (2009). The subject in the scene of representation. The Art Bulletin, 76, 571.
Dillenberger, J. (1961). Introduction to Martin Luther: Selections from his writings (p. xiii). J. Dillenberger (Ed.). Garden City, N.Y.: Anchor Books.
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Eisler, C. T. (1991). Dürer’s animals. Washington: Smithsonian Institution Press.
Falkenburg, R. L. (1999). Calvinism and the emergence of Dutch seventeenth-century landscape art—A critical evaluation. In P. C. Finney (Ed.), Seeing beyond the word: Visual arts and the Calvinist tradition (p. 356). Grand Rapids, Mich.: William B. Eerdmans Publishing.
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Graef, H. (1963). Mary: A history of doctrine and devotion (Vol. 2). New York: Sheed and Ward.
Greenblatt, S. (1980). Renaissance self-fashioning: From more to Shakespeare. Chicago: University of Chicago Press.
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Heal, B. (2007). The cult of the Virgin Mary in early Modern Germany: Protestant and Catholic piety, 1500-1648. Cambridge, UK: Cambridge University Press.
Hugelshofer, W. (1969). Wiederholungenbei Baldung (Baldung’s repetitions). Zeitschriftfür Kunstgeschichte, 32, 29-43
Hults, L. C. (2005). The Witch as Muse art, gender, and power in early Modern Europe. Philadelphia: University of Pennsylvania Press.
Koerner, J. (1993). The moment of self portraiture in German Renaissance Art. Chicago: University of Chicago Press.
Kors, A. C., & Peters, E. (2001). Witchcraft in Europe, 400-1700: A documentary history. Philadelphia: University of Pennsylvania Press.
Lohse, B. (1986). Martin Luther: An introduction to his life and work. (R. C. Schultz, Trans.). Philadelphia: Fortress Press.
Luther, M. (1912-1921). Martin Luthers Werke: Kritische Gesammtausgabe; Abteilung Tischreden (Martin Luther’s works: Complete critical edition; section table talk) (Vol. 6). Weimar: Hermann Böhlaus Nachfolger.
Luther, M. (1955-1986). Works (Vols. 55). In H. T. Lehmann, J. Pelikan, & H. C. Oswald (Eds.). Philadelphia: Fortress Press.
Marrow, J. (1986). Symbol and Meaning in Northern European Art of the Late Middle Ages and the Early Renaissance. Simiolus, 16, 150-169.
Mielke, H. (1988). Albrecht Altdorfer: ZeichnungenDeckfarbenmalereiDruckgraphik (Albrecht Altdorfer: Drawings, ceiling decorations, and graphic work). Berlin: Reimer Verlag.
Molitor, U. (1490-1510). On Female Witches and Seers. Berlin: ReimerVerlag.
Noble, B. (2009). Lucas Cranach the Elder: Art and devotion of the German reformation. Lanham: Rowan and Littlefield Group and Co..
Oberman, H. (1994). The Virgin in Evangelical perspective. The impact of the reformation (p. 242 and n. 64). Grand Rapids, Mich.: William B. Eerdmans Publishing Company.
Pepperberg, I. M. (2008). Alex & Me: How a scientist and a parrot discovered a hidden world of animal intelligence—and formed a deep bond in the process. New York, NY: Collins.
Rowlands, A. (2008). A Lutheran response to witchcraft and magic. In D. Oldridge (Ed.), The Witchcraft Reader (2nd ed.) (p. 149). New York, NY: Routledge.
Schade, S. (1983). Schadenzauber und die Magie des Körpers: Hexenbilder der frühen Neuzeit (Dark magic and the enchantentment of the body: Early modern images of witches). Worms: Werner’s che Verlagsgesellschaft.
Schreiner, K. (1994). Maria: Jungfrau, Mutter, Herrscherin. München: C. Hanser.
Schütte, K. (2000). Die Madonna Mit Dem Papagei Von Hans BalgungGrien (The Madonna with the Parrot by Hans Baldung Grien) (Unpublished Master’s thesis). Bonn
Steinberg, L. (1997). The sexuality of Christ in Renaissance art and in Modern Oblivion (2nd ed.). Chicago: University of Chicago Press.
Sullivan, M. A. (2000). The witches of Dürer and Hans Baldung Grien. Renaissance Quarterly, 53, 333-401.
Swan, C. (2005). Art, science, and witchcraft in early Modern Holland: Jacques de Gheyn II (1565-1629). New York, NY: Cambridge University Press.
Tappolet, W. (1962). Das Marienlob der Reformatoren (Marien devotion of the reformers). Tübingen: Katzmannverlag.
Twain, M. (2008). Following the Equator; Pudd’nhead Wilson’s New Calendar cited in Mira Tweti, Of Parrots And People: The Sometimes Funny, Always Fascinating, and Often Catastrophic Collision of Two Intelligent Species (New York: Viking:) 29.
von der Osten, G. (1983). Hans Baldung Grien: Gemälde und Dokumente (Hans Baldung Grien: Paintings and documents). Berlin: Deutscher Verlag für Kunstwissenschaft.
von Dülmen, R. (Ed.). (1987). Hexenwelten: Magie und Imagination vom 16-20 Jahrhundert. Frankfurt: Fischer TaschenuchVerlag.
Walsch, K. (1981). The Works of Bernard of Clairvaux (Vol. 2). On the Song of Songs I. Cistercian Fathersseries, No. 4. Kalamazoo: Cistercian Publications, Inc..
Weber am Bach, S. (2006). Hans Baldung Grien (1484/85-1545): Marienbilder in der Reformation. Studien zur christlichen Kunst (Hans Baldung Grien (1484-85):Marian images in the reformation. Studies on christian art) (Vol. 6). Regensburg: Schnell & Steiner.
Wittmann, J. (1998). Die Bedeutung des Marienbildesim Schaffen Cranachs (The meaning of Marian images in Cranach’s oeuvre). In I. Sandner, (Ed.), Unsichtbare Meisterzeichnungen auf dem Malgrund: Cranach und seine Zeitgenossen (Invisible master drawings on the painting surface: Cranach and his contemporaries) (p. 171). Regensburg: Schnell & Steiner.
Wood, C. (2006). Countermagical Combinations by Dosso Dossi. Anthropology and Aesthetics, 49(50), 153.
Wood, C. S. (2008). Forgery replica fiction. Temporalities of German Renaissance art. Chicago and London: University of Chicago Press.
Yarnall, J. (1994). Transformations of circe: The history of an enchantress. Urbana and Chicago: University of Illinois Press.
Zika, C. (2002). Images of Circe and discourses of witchcraft: 1480-1580. Retrieved from http://www.zeitenblicke.historicum.net/2002/01/zika/zika.html
Zika, C. (2007). Appearance of witchcraft. Print and Visual Culture in Sixteenth-Century Europe. London: Routledge.
Zika, C. (2014). Images and Witchcraft studies: A short history. In M. Nenonen, Writing Witch-Hunt histories: Challenging the paradigm (pp. 41-85). Leiden and Boston: Brill.
Baldung, G. H. (2009). Grove encyclopedia of northern Renaissance art (Vol. 1). G. Campbell (Ed.). Oxford: Oxford University Press.
Baldung, H., Marrow, J. H., & Shestack, A. (1981). Hans Baldung Grien, prints & drawings: National Gallery of Art. New Haven: Yale University Art Gallery.
Barry, J., Hester, M., & Roberts, G. (1996). Witchcraft in early modern Europe: studies in culture and belief. Cambridge: Cambridge University Press.
Bartrum, G. (1995). German Renaissance prints, 1490-1550. London: British Museum Press.
Baxandall, M. (1980). The Limewood Sculptors of Renaissance Germany. New Haven: Yale University Press.
Behringer, W. (2008).Weather, Hunger, and Fear. In D. Oldridge, Reader (pp. 74-85). London; New York : Routledge.
Belting, H. (1994). Likeness and presence. Chicago: University of Chicago Press.
Berdini, P. (1997). The religious art of Jacopo Bassano: Painting as visual exegesis. Cambridge and New York: Cambridge University Press.
Bleyerveld, Y. (2001). Chaste, Obedient and Devout: Biblical women as patterns of female virtue in Netherlandish and German graphic art, ca. 1500-1750. Simiolus, 28, 219-250.
Boehrer, B. (2004). Parrot culture. Philadelphia: University of Pennsylvania Press.
Boehrer, B. T. (2010). Animal characters: Nonhuman beings in early modern literature. Philadelphia: University of Pennsylvania Press.
Brady, T. (1975). The social place of a German Renaissance artist: Hans Baldung Grien (1484/5-1545). Central European History, 8, 295-315.
Brecht, B., & Jeske, W. (1999). Mutter Courage und ihre Kinder: eine ChronikausdemDreissigjährigen Krieg (Mother courage and herchildren. A chronical from theThirty-YearsWar). Frankfurt: Suhrkamp.
Bulfinch, T. (2004 PDF). Introduction. In P. Gutenberg, Bulfinch’s Mythology (pp. 9, 234). Retrieved from http://www.sacred-texts.com/cla/bulf/bulf00.htm
Burckhardt, J., Middlemore, S. G. C., & Goldscheider, L. (n.d.). The Civilization of the Renaissance in Italy. Vienna: Phaidon Press.
Bussmann, G. (1966). Manierismusim Spätwerk Hans Baldung Griens; die Gemälde der zweiten Strassburger Zeit (Mannerism in the late work of Hans Baldung Grien: Paintings of the second Strasbourg period). Heidelberg: C. Winter.
Cohen, S. (2008). Animals as disguised symbols in Renaissance art. Leiden and Boston: Brill.
Davis, W. (2009). The subject in the scene of representation. The Art Bulletin, 76, 571.
Dillenberger, J. (1961). Introduction to Martin Luther: Selections from his writings (p. xiii). J. Dillenberger (Ed.). Garden City, N.Y.: Anchor Books.
Düffel, H. (1968). Luthers Stellungzur Marienverehrung. Kirche und Konfession (Luther’s position on adoration of Mary. church and confession) (vol. 13). Göttingen: Vandenhoeck & Ruprecht.
Eisler, C. T. (1991). Dürer’s animals. Washington: Smithsonian Institution Press.
Falkenburg, R. L. (1999). Calvinism and the emergence of Dutch seventeenth-century landscape art—A critical evaluation. In P. C. Finney (Ed.), Seeing beyond the word: Visual arts and the Calvinist tradition (p. 356). Grand Rapids, Mich.: William B. Eerdmans Publishing.
Freedberg, D. (1989). The power of images. Chicago: University of Chicago Press.
Goedde, L. (1989). Tempest and shipwreck in Dutch and Flemish art: Convention, rhetoric, and interpretation. Philadelphia: University Park: Pennsylvania State University Press.
Graef, H. (1963). Mary: A history of doctrine and devotion (Vol. 2). New York: Sheed and Ward.
Greenblatt, S. (1980). Renaissance self-fashioning: From more to Shakespeare. Chicago: University of Chicago Press.
Harbison, C. (1985). Visions and meditations in early Flemish painting. Simiolus, 15, 87-119.
Harbison, C. (1994). Sexuality of Christ in the Early Sixteenth Century in Germany. In A Tribute to Robert A. Koch: Studies in the Northern Renaissance (pp. 70-81). Princeton: Department of Art and Archaeology, Princeton University.
Heal, B. (2001). A woman like any other? Images of the Virgin Mary and Marian devotion in Nuremberg, Augsburg, and Cologne, c. 1500-1600 (Ph.D. Thesis, University of London (Courtauld Institute of Art)).
Heal, B. (2007). The cult of the Virgin Mary in early Modern Germany: Protestant and Catholic piety, 1500-1648. Cambridge, UK: Cambridge University Press.
Hugelshofer, W. (1969). Wiederholungenbei Baldung (Baldung’s repetitions). Zeitschriftfür Kunstgeschichte, 32, 29-43
Hults, L. C. (2005). The Witch as Muse art, gender, and power in early Modern Europe. Philadelphia: University of Pennsylvania Press.
Koerner, J. (1993). The moment of self portraiture in German Renaissance Art. Chicago: University of Chicago Press.
Kors, A. C., & Peters, E. (2001). Witchcraft in Europe, 400-1700: A documentary history. Philadelphia: University of Pennsylvania Press.
Lohse, B. (1986). Martin Luther: An introduction to his life and work. (R. C. Schultz, Trans.). Philadelphia: Fortress Press.
Luther, M. (1912-1921). Martin Luthers Werke: Kritische Gesammtausgabe; Abteilung Tischreden (Martin Luther’s works: Complete critical edition; section table talk) (Vol. 6). Weimar: Hermann Böhlaus Nachfolger.
Luther, M. (1955-1986). Works (Vols. 55). In H. T. Lehmann, J. Pelikan, & H. C. Oswald (Eds.). Philadelphia: Fortress Press.
Marrow, J. (1986). Symbol and Meaning in Northern European Art of the Late Middle Ages and the Early Renaissance. Simiolus, 16, 150-169.
Mielke, H. (1988). Albrecht Altdorfer: ZeichnungenDeckfarbenmalereiDruckgraphik (Albrecht Altdorfer: Drawings, ceiling decorations, and graphic work). Berlin: Reimer Verlag.
Molitor, U. (1490-1510). On Female Witches and Seers. Berlin: ReimerVerlag.
Noble, B. (2009). Lucas Cranach the Elder: Art and devotion of the German reformation. Lanham: Rowan and Littlefield Group and Co..
Oberman, H. (1994). The Virgin in Evangelical perspective. The impact of the reformation (p. 242 and n. 64). Grand Rapids, Mich.: William B. Eerdmans Publishing Company.
Pepperberg, I. M. (2008). Alex & Me: How a scientist and a parrot discovered a hidden world of animal intelligence—and formed a deep bond in the process. New York, NY: Collins.
Rowlands, A. (2008). A Lutheran response to witchcraft and magic. In D. Oldridge (Ed.), The Witchcraft Reader (2nd ed.) (p. 149). New York, NY: Routledge.
Schade, S. (1983). Schadenzauber und die Magie des Körpers: Hexenbilder der frühen Neuzeit (Dark magic and the enchantentment of the body: Early modern images of witches). Worms: Werner’s che Verlagsgesellschaft.
Schreiner, K. (1994). Maria: Jungfrau, Mutter, Herrscherin. München: C. Hanser.
Schütte, K. (2000). Die Madonna Mit Dem Papagei Von Hans BalgungGrien (The Madonna with the Parrot by Hans Baldung Grien) (Unpublished Master’s thesis). Bonn
Steinberg, L. (1997). The sexuality of Christ in Renaissance art and in Modern Oblivion (2nd ed.). Chicago: University of Chicago Press.
Sullivan, M. A. (2000). The witches of Dürer and Hans Baldung Grien. Renaissance Quarterly, 53, 333-401.
Swan, C. (2005). Art, science, and witchcraft in early Modern Holland: Jacques de Gheyn II (1565-1629). New York, NY: Cambridge University Press.
Tappolet, W. (1962). Das Marienlob der Reformatoren (Marien devotion of the reformers). Tübingen: Katzmannverlag.
Twain, M. (2008). Following the Equator; Pudd’nhead Wilson’s New Calendar cited in Mira Tweti, Of Parrots And People: The Sometimes Funny, Always Fascinating, and Often Catastrophic Collision of Two Intelligent Species (New York: Viking:) 29.
von der Osten, G. (1983). Hans Baldung Grien: Gemälde und Dokumente (Hans Baldung Grien: Paintings and documents). Berlin: Deutscher Verlag für Kunstwissenschaft.
von Dülmen, R. (Ed.). (1987). Hexenwelten: Magie und Imagination vom 16-20 Jahrhundert. Frankfurt: Fischer TaschenuchVerlag.
Walsch, K. (1981). The Works of Bernard of Clairvaux (Vol. 2). On the Song of Songs I. Cistercian Fathersseries, No. 4. Kalamazoo: Cistercian Publications, Inc..
Weber am Bach, S. (2006). Hans Baldung Grien (1484/85-1545): Marienbilder in der Reformation. Studien zur christlichen Kunst (Hans Baldung Grien (1484-85):Marian images in the reformation. Studies on christian art) (Vol. 6). Regensburg: Schnell & Steiner.
Wittmann, J. (1998). Die Bedeutung des Marienbildesim Schaffen Cranachs (The meaning of Marian images in Cranach’s oeuvre). In I. Sandner, (Ed.), Unsichtbare Meisterzeichnungen auf dem Malgrund: Cranach und seine Zeitgenossen (Invisible master drawings on the painting surface: Cranach and his contemporaries) (p. 171). Regensburg: Schnell & Steiner.
Wood, C. (2006). Countermagical Combinations by Dosso Dossi. Anthropology and Aesthetics, 49(50), 153.
Wood, C. S. (2008). Forgery replica fiction. Temporalities of German Renaissance art. Chicago and London: University of Chicago Press.
Yarnall, J. (1994). Transformations of circe: The history of an enchantress. Urbana and Chicago: University of Illinois Press.
Zika, C. (2002). Images of Circe and discourses of witchcraft: 1480-1580. Retrieved from http://www.zeitenblicke.historicum.net/2002/01/zika/zika.html
Zika, C. (2007). Appearance of witchcraft. Print and Visual Culture in Sixteenth-Century Europe. London: Routledge.
Zika, C. (2014). Images and Witchcraft studies: A short history. In M. Nenonen, Writing Witch-Hunt histories: Challenging the paradigm (pp. 41-85). Leiden and Boston: Brill.