selbstbildnis mit zottelhut (13. 095)

Through the rather remarkable discovery of a previously unknown miniature portrait commission kept in the archives of the sitter’s descendants for over five hundred years, we are introduced to the early Renaissance mannerist artist called Hans Baldung “Grien”—adding an nickname he acquired from his student days for his penchant in working with the colour green, incorporating it into his monogram ʜɢʙ. After studying under master Albrecht Dürer in Nuremberg Baldung founded his own studio and workshop in Strasbourg, supplementing his projects by painting the aristocracy of the Free Imperial city of the Holy Roman Empire. An advocate of the Reformation, like Dürer and Cranach, Baldung produced paintings, woodcuts and prints (also working in stained glass and tapestries) traditional religious settings with protestant iconography and the usual mythological allegories but also indulged a life-long preoccupation with the subject of witches and witch-hunters, among the first artists to concentrate on the theme (his monicker may also have been a conscious echo of the German word “grienhals,” a German synonym for hexe) as well as nontraditional motifs like Phyllis and Aristotle, the female form in general and depictions of eroticism, heretofore unseen in the art world in any medium.