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"Hans Baldung Grien, the most famous apprentice and close friend of German artist Albrecht Durer, was known for his unique and highly eroticised images of witches. In paintings and woodcut prints, he gave powerful visual expression to late medieval tropes and stereotypes, such as the poison maiden, venomous virgin, the Fall of Man, 'death and the maiden' and other motifs and eschatological themes, which mingled abject and erotic qualities in the female body. Yvonne Owens reads these images against the humanist intellectual milieu of Renaissance Germany, showing how classical and medieval medicine and natural philosophy interpreted female anatomy as toxic, defective and dangerously beguiling. She reveals how Hans Baldung exploited this radical polarity to create moralising and titillating portrayals of how monstrous female sexuality victimised men and brought them low. Furthermore, these images issued from - and contributed to - the contemporary understanding of witchcraft as a heresy that stemmed from natural 'feminine defect,' a concept derived from Aristotle. Offering new and provocative interpretations of Hans Baldung's iconic witchcraft imagery, this book will be essential for historians of art, culture and gender relations in the late medieval and early modern periods"--

Witches in art. --- Femmes fatales in art. --- Women --- Renaissance --- Folklore. --- Baldung, Hans, --- Criticism and interpretation.

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"Hans Baldung Grien, the most famous apprentice and close friend of German artist Albrecht Durer, was known for his unique and highly eroticised images of witches. In paintings and woodcut prints, he gave powerful visual expression to late medieval tropes and stereotypes, such as the poison maiden, venomous virgin, the Fall of Man, 'death and the maiden' and other motifs and eschatological themes, which mingled abject and erotic qualities in the female body. Yvonne Owens reads these images against the humanist intellectual milieu of Renaissance Germany, showing how classical and medieval medicine and natural philosophy interpreted female anatomy as toxic, defective and dangerously beguiling. She reveals how Hans Baldung exploited this radical polarity to create moralising and titillating portrayals of how monstrous female sexuality victimised men and brought them low. Furthermore, these images issued from - and contributed to - the contemporary understanding of witchcraft as a heresy that stemmed from natural 'feminine defect,' a concept derived from Aristotle. Offering new and provocative interpretations of Hans Baldung's iconic witchcraft imagery, this book will be essential for historians of art, culture and gender relations in the late medieval and early modern periods"--

Sexology --- Iconography --- Painting --- Graphic arts --- prints [visual works] --- iconography --- eroticism --- witches --- German Renaissance-Baroque styles --- women [female humans] --- fatale vrouw --- Baldung Grien, Hans --- Witches in art. --- Femmes fatales in art. --- Women --- Renaissance --- Baldung, Hans, --- Criticism and interpretation. --- Folklore.

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In her unique focus on the imagery of witchcraft, Lyndal Roper has succeeded in adding a compelling new dimension to the study of witchcraft in early modern Europe.

History of civilization --- History of Europe --- Iconography --- anno 1600-1699 --- anno 1500-1599 --- Witches in art. --- Witches in literature. --- Arts, European --- Arts and society --- Themes, motives. --- Arts --- Arts and sociology --- Society and the arts --- Sociology and the arts --- European arts --- Social aspects

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The figure of the witch is familiar from the work of early modern German, Dutch, and Flemish artists, but much less so in the work of their Italian counterparts. Art and Witchcraft in Early Modern Italy seeks to explore the ways in which representations of witchcraft emerged from and coincided with the main cultural currents and artistic climate of an epoch chiefly celebrated for its humanistic and rational approaches. Through an in-depth examination of a panoply of arresting paintings, engravings, and drawings-variously portraying a hag-ridden colossal phallus, a horror-stricken necromancer dodging the devil's scrabbling claws, and a nocturnal procession presided over by an infanticidal crone - Guy Tal offers new ways of reading witchcraft images through and beyond conventional iconography. Artists such as Parmigianino, Alessandro Allori, Leonello Spada, and Angelo Caroselli effected visual commentaries on demonological notions that engaged their audience in a tantalizing experience of interpretation.

witch, magic, demonology, imagination, early modern art. --- History of art. --- Paintings and painting. --- HISTORY / Renaissance. --- ART / History / Baroque & Rococo. --- ART / History / Renaissance. --- History of art and design styles: c 1600 to c 1800. --- History of art and design styles: c 1400 to c 1600. --- Witchcraft in art. --- Witches in art. --- Art, Italian --- Witchcraft --- History

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kunst --- 130.2 --- 7.03 --- 7.041 --- cultuurfilosofie --- gender studies --- feminisme --- heksen --- iconologie --- iconografie --- Exhibitions --- Witches in art --- Women in art --- Gender identity in art --- Feminism --- Witches --- Sex discrimination against women --- Male domination (Social structure) --- Women --- Sorcières dans l'art --- Femmes dans l'art --- Identité sexuelle dans l'art --- Féminisme --- Sorcières --- Discrimination à l'égard des femmes --- Domination masculine (Structure sociale) --- Femmes --- Violence against --- History --- Social conditions --- Expositions --- Violence envers --- Histoire --- Conditions sociales --- Exhibitions. --- History.