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Hans Baldung Grien
German 1485-1545 Hans Baldung Grien Galleries The earliest pictures assigned to him by some are altar-pieces with the monogram H. B. interlaced, and the date of 1496, in the monastery chapel of Lichtenthal near Baden-Baden. Another early work is a portrait of the emperor Maximilian, drawn in 1501 on a leaf of a sketch-book now in the print-room at Karlsruhe. "The Martyrdom of St Sebastian and the Epiphany" (Berlin Museum), fruits of his labour in 1507, were painted for the market-church of Halle in Saxony. Baldung's prints, though D??reresque, are very individual in style, and often in subject. They show little direct Italian influence. His paintings are less important than his prints. He worked mainly in woodcut, although he made six engravings, one very fine. He joined in the fashion for chiaroscuro woodcuts, adding a tone block to a woodcut of 1510.[1] Most of his hundreds of woodcuts were commissioned for books, as was usual at the time; his "single-leaf" woodcuts (ie prints not for book illustration) are fewer than 100, though no two catalogues agree as to the exact number. He was extremely interested in witches and made many images of them in different media, including several very beautiful drawings finished with bodycolour, which are more erotic than his treatments in other techniques. Witch and Dragon. Drawing with bodycolour (b/w repro)Without absolute correctness as a draughtsman, his conception of human form is often very unpleasant, whilst a questionable taste is shown in ornament equally profuse and baroque. Nothing is more remarkable in his pictures than the pug-like shape of the faces, unless we except the coarseness of the extremities. No trace is apparent of any feeling for atmosphere or light and shade. Though Gr??n has been commonly called the Correggio of the north, his compositions are a curious medley of glaring and heterogeneous colours, in which pure black is contrasted with pale yellow, dirty grey, impure red and glowing green. Flesh is a mere glaze under which the features are indicated by lines. (1911) His works are mainly interesting because of the wild and fantastic strength which some of them display. His Eve, the Serpent and Death (National Museum of Canada) shows his strengths well. We may pass lightly over the "Epiphany" of 1507, the "Crucifixion" of 1512, or the "Stoning of Stephen" of 1522, in the Berlin Museum. There is some force in the "Dance of Death" of 1517, in the museum of Basel, or the Madonna of 1530, in the Liechtenstein Gallery at Vienna. Gr??n's best effort is the altarpiece of Freiburg, where the Coronation of the Virgin, and the Twelve Apostles, the Annunciation, Visitation, Nativity and Flight into Egypt, and the Crucifixion, with portraits of donors, are executed with some of that fanciful power which Martin Schongauer bequeathed to the Swabian school. As a portrait painter he is well known. He drew the likeness of Charles V, as well as that of Maximilian; and his bust of Margrave Philip in the Munich Gallery tells us that he was connected with the reigning family of Baden, as early as 1514. At a later period he had sittings from Margrave Christopher of Baden, Ottilia his wife, and all their children, and the picture containing these portraits is still in the grand-ducal gallery at Karlsruhe. Like D??rer and Cranach, Gr??n became a hearty supporter of the Reformation. He was present at the diet of Augsburg in 1518, and one of his woodcuts represents Luther under the protection of the Holy Ghost, which hovers over him in the shape of a dove.

 

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Hans Baldung Grien Rest on the Flight to Egypt oil painting

Painting ID::  87421

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Hans Baldung Grien
Rest on the Flight to Egypt
1514(1514) Medium Oil on wood cyf
   
   
     

 

 

Hans Baldung Grien Prudence oil painting

Painting ID::  87707

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Hans Baldung Grien
Prudence
1529(1529) Medium Oil on pine panel Dimensions Height: 83 cm (32.7 in). Width: 36 cm (14.2 in). cyf
   
   
     

 

 

Hans Baldung Grien Music oil painting

Painting ID::  87708

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Hans Baldung Grien
Music
1529(1529) Medium Oil on pine panel cyf
   
   
     

 

 

Hans Baldung Grien Portrait of Ambroise ( or Ambrosius ) Volmar Keller oil painting

Painting ID::  87789

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Hans Baldung Grien
Portrait of Ambroise ( or Ambrosius ) Volmar Keller
Date 1538(1538) Medium Oil on linden cjr
   
   
     

 

 

Hans Baldung Grien Knight, Death and girl oil painting

Painting ID::  88510

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Hans Baldung Grien
Knight, Death and girl
1. Viertel 16. Jahrhundert Oil on wood Dimensions 35,5 x 29,6 cm cjr
   
   
     

 

 

Hans Baldung Grien Three Ages of the Woman and the Death oil painting

Painting ID::  88724

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Hans Baldung Grien
Three Ages of the Woman and the Death
1510(1510) Medium Oil on linden cyf
   
   
     

 

 

Hans Baldung Grien The Crucifixion of Christ oil painting

Painting ID::  89175

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Hans Baldung Grien
The Crucifixion of Christ
1512(1512) Medium oil on basswood Dimensions Height: 151 cm (59.4 in). Width: 104 cm (40.9 in). cjr
   
   
     

 

 

Hans Baldung Grien The Trinity and Mystic Pieta oil painting

Painting ID::  91721

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Hans Baldung Grien
The Trinity and Mystic Pieta
oil on oak Dimensions Height: 112.3 cm (44.2 in). Width: 89.1 cm (35.1 in). cyf
   
   
     

 

 

Hans Baldung Grien Markgraf Christoph I oil painting

Painting ID::  92124

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Hans Baldung Grien
Markgraf Christoph I
1509/10 Medium oil on canvas cyf
   
   
     

 

 

Hans Baldung Grien Adam und Eva oil painting

Painting ID::  92384

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Hans Baldung Grien
Adam und Eva
Date c. 1525(1525) Medium oil on panel Dimensions Deutsch: je 208 X 83,5 cm TTD
   
   
     

 

 

Hans Baldung Grien Die Lebensalter und der Tod oil painting

Painting ID::  92456

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Hans Baldung Grien
Die Lebensalter und der Tod
Medium oil on panel Dimensions 150.9 X 50.8 cm (59.4 X 20 in) TTD
   
   
     

 

 

Hans Baldung Grien Three Ages of Man and Death oil painting

Painting ID::  94711

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Hans Baldung Grien
Three Ages of Man and Death
Circa 1510 Type Oil on canvas Dimensions 151 cm x 61 cm (59 in x 24 in) cyf
   
   
     

 

 

Hans Baldung Grien Madonna mit den Papageien oil painting

Painting ID::  96153

X 
 

Hans Baldung Grien
Madonna mit den Papageien
1527-1528 Medium oil on panel cyf
   
   
     

 

 

Hans Baldung Grien Portrait of a Man oil painting

Painting ID::  96946

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Hans Baldung Grien
Portrait of a Man
1514(1514) Medium oil on linden wood cyf
   
   
     

 

 

Hans Baldung Grien Nativity oil painting

Painting ID::  97255

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Hans Baldung Grien
Nativity
1520(1520) Medium oil on panel cyf
   
   
     

 

 

Hans Baldung Grien The Three Graces oil painting

Painting ID::  98263

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Hans Baldung Grien
The Three Graces
1541-1544 Medium oil on board Dimensions 151 x 61 cm cyf
   
   
     

 

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Hans Baldung Grien
German 1485-1545 Hans Baldung Grien Galleries The earliest pictures assigned to him by some are altar-pieces with the monogram H. B. interlaced, and the date of 1496, in the monastery chapel of Lichtenthal near Baden-Baden. Another early work is a portrait of the emperor Maximilian, drawn in 1501 on a leaf of a sketch-book now in the print-room at Karlsruhe. "The Martyrdom of St Sebastian and the Epiphany" (Berlin Museum), fruits of his labour in 1507, were painted for the market-church of Halle in Saxony. Baldung's prints, though D??reresque, are very individual in style, and often in subject. They show little direct Italian influence. His paintings are less important than his prints. He worked mainly in woodcut, although he made six engravings, one very fine. He joined in the fashion for chiaroscuro woodcuts, adding a tone block to a woodcut of 1510.[1] Most of his hundreds of woodcuts were commissioned for books, as was usual at the time; his "single-leaf" woodcuts (ie prints not for book illustration) are fewer than 100, though no two catalogues agree as to the exact number. He was extremely interested in witches and made many images of them in different media, including several very beautiful drawings finished with bodycolour, which are more erotic than his treatments in other techniques. Witch and Dragon. Drawing with bodycolour (b/w repro)Without absolute correctness as a draughtsman, his conception of human form is often very unpleasant, whilst a questionable taste is shown in ornament equally profuse and baroque. Nothing is more remarkable in his pictures than the pug-like shape of the faces, unless we except the coarseness of the extremities. No trace is apparent of any feeling for atmosphere or light and shade. Though Gr??n has been commonly called the Correggio of the north, his compositions are a curious medley of glaring and heterogeneous colours, in which pure black is contrasted with pale yellow, dirty grey, impure red and glowing green. Flesh is a mere glaze under which the features are indicated by lines. (1911) His works are mainly interesting because of the wild and fantastic strength which some of them display. His Eve, the Serpent and Death (National Museum of Canada) shows his strengths well. We may pass lightly over the "Epiphany" of 1507, the "Crucifixion" of 1512, or the "Stoning of Stephen" of 1522, in the Berlin Museum. There is some force in the "Dance of Death" of 1517, in the museum of Basel, or the Madonna of 1530, in the Liechtenstein Gallery at Vienna. Gr??n's best effort is the altarpiece of Freiburg, where the Coronation of the Virgin, and the Twelve Apostles, the Annunciation, Visitation, Nativity and Flight into Egypt, and the Crucifixion, with portraits of donors, are executed with some of that fanciful power which Martin Schongauer bequeathed to the Swabian school. As a portrait painter he is well known. He drew the likeness of Charles V, as well as that of Maximilian; and his bust of Margrave Philip in the Munich Gallery tells us that he was connected with the reigning family of Baden, as early as 1514. At a later period he had sittings from Margrave Christopher of Baden, Ottilia his wife, and all their children, and the picture containing these portraits is still in the grand-ducal gallery at Karlsruhe. Like D??rer and Cranach, Gr??n became a hearty supporter of the Reformation. He was present at the diet of Augsburg in 1518, and one of his woodcuts represents Luther under the protection of the Holy Ghost, which hovers over him in the shape of a dove.