Albrecht Dürer, sometimes spelled in English as Durer, was a German painter, printmaker, and theorist of the German Renaissance. Born in Nuremberg, Dürer established his reputation and influence across Europe in his twenties due to his high-quality woodcut prints. He was in contact with the major Italian artists of his time, including Raphael, Giovanni Bellini, and Leonardo da Vinci, and from 1512 was patronized by Emperor Maximilian I.
Hans Baldung, called Hans Baldung Grien,, was a painter, printer, engraver, draftsman, and stained glass artist, who was considered the most gifted student of Albrecht Dürer and whose art belongs to both German Renaissance and Mannerism.
The Malleus Maleficarum, usually translated as the Hammer of Witches, is the best known treatise purporting to be about witchcraft. It was written by the German Catholic clergyman Heinrich Kramer and first published in the German city of Speyer in 1486. Some describe it as the compendium of literature in demonology of the 15th century. Kramer blamed women for his own lust, and presented his views as the Church's position. The book was condemned by top theologians of the Inquisition at the Faculty of Cologne for recommending unethical and illegal procedures, and for being inconsistent with Catholic doctrines of demonology.
Woodcut is a relief printing technique in printmaking. An artist carves an image into the surface of a block of wood—typically with gouges—leaving the printing parts level with the surface while removing the non-printing parts. Areas that the artist cuts away carry no ink, while characters or images at surface level carry the ink to produce the print. The block is cut along the wood grain. The surface is covered with ink by rolling over the surface with an ink-covered roller (brayer), leaving ink upon the flat surface but not in the non-printing areas.
A Witches' Sabbath is a purported gathering of those believed to practice witchcraft and other rituals. The phrase became especially popular in the 20th century.
A Black Mass is a ceremony typically said to be celebrated by various Satanic groups. It has allegedly existed for centuries in different forms and is directly based on, and is intentionally a sacrilegious and blasphemous mockery of, a Catholic Mass.
The German Renaissance, part of the Northern Renaissance, was a cultural and artistic movement that spread among German thinkers in the 15th and 16th centuries, which developed from the Italian Renaissance. Many areas of the arts and sciences were influenced, notably by the spread of Renaissance humanism to the various German states and principalities. There were many advances made in the fields of architecture, the arts, and the sciences. Germany produced two developments that were to dominate the 16th century all over Europe: printing and the Protestant Reformation.
The Germanisches Nationalmuseum is a museum in Nuremberg, Germany. Founded in 1852, it houses a large collection of items relating to German culture and art extending from prehistoric times through to the present day. The museum is Germany's largest museum of cultural history. Out of its total holding of some 1.3 million objects, approximately 25,000 are exhibited.
The title canon Episcopi is conventionally given to a certain passage found in medieval canon law. The text possibly originates in an early 10th-century penitential, recorded by Regino of Prüm; it was included in Gratian's authoritative Corpus juris canonici of c. 1140 and as such became part of canon law during the High Middle Ages.
The Formicarius, written 1436–1438 by Johannes Nider during the Council of Florence and first printed in 1475, is the second book ever printed to discuss witchcraft. Nider dealt specifically with witchcraft in the fifth section of the book. Unlike his successors, he did not emphasize the idea of the Witches' Sabbath and was skeptical of the claim that witches could fly by night. With over 25 manuscript copies from fifteenth and early sixteenth century editions from the 1470s to 1692, the Formicarius is an important work for the study of the origins of the witch trials in Early Modern Europe, as it sheds light on their earliest phase during the first half of the 15th century.
Joachim and Anne Meeting at the Golden Gate is a 1504 woodcut by the German artist Albrecht Dürer that depicts the standard scene of Joachim and Anne Meeting at the Golden Gate. In the woodcut, the parents of the Virgin Mary, Joachim, and Anne meet at the Golden Gate of Jerusalem, upon learning that she will bear a child.
Compendium Maleficarum is a witch-hunter's manual written in Latin by Francesco Maria Guazzo, and published in Milan in 1608.
The Triumphal Arch is a 16th-century monumental woodcut print commissioned by the Holy Roman Emperor Maximilian I. The composite image was printed on 36 large sheets of paper from 195 separate wood blocks. At 295 × 357 centimetres (116 × 141 in), it is one of the largest prints ever produced and was intended to be pasted to walls in city halls or the palaces of princes. It is a part of a series of three huge prints created for Maximilian, the others being a Triumphal Procession which is led by a Large Triumphal Carriage ; only the Arch was completed in Maximilian's lifetime and distributed as propaganda, as he intended. Together, this series has been described by art historian Hyatt Mayor as "Maximilian's program of paper grandeur". They stand alongside two published biographical allegories in verse, the Theuerdank and Weisskunig, heavily illustrated with woodcuts.
Hans Weiditz the Younger, Hans Weiditz der Jüngere, Hans Weiditz II, was a German Renaissance artist, also known as The Petrarch Master for his woodcuts illustrating Petrarch's De remediis utriusque fortunae, or Remedies for Both Good and Bad Fortune, or Phisicke Against Fortune. He is best known today for his very lively scenes and caricatures of working life and people, many created to illustrate the abstract philosophical maxims of Cicero and Petrarch.
The Little Masters, were a group of German printmakers who worked in the first half of the 16th century, primarily in engraving. They specialized in very small finely detailed prints, some no larger than a postage stamp. The leading members were Hans Sebald Beham, his brother Barthel, and George Pencz, all from Nuremberg, and Heinrich Aldegrever and Albrecht Altdorfer. Many of the Little Masters' subjects were mythological or Old Testament stories, often treated erotically, or genre scenes of peasant life. The size and subject matter of the prints shows that they were designed for a market of collectors who would keep them in albums, of which a number have survived.
The Cabinet des estampes et des dessins is a museum in Strasbourg in the Bas-Rhin department of France. It is dedicated to the municipal collection of prints (estampes) and drawings (dessins), but also woodcuts and lithographs, covering a period of five centuries from the 14th to the 19th. The municipal collections of graphic art since 1870 are displayed in the Musée d'art moderne et contemporain and in the Tomi Ungerer Museum.
Knight, Death and the Devil is a large 1513 engraving by the German artist Albrecht Dürer, one of the three Meisterstiche completed during a period when he almost ceased to work in paint or woodcuts to focus on engravings. The image is infused with complex iconography and symbolism, the precise meaning of which has been argued over for centuries.
The Four Witches, or The Four Naked Women, or The Four Sorceresses or Scene in a Brothel, are titles given to a 1497 engraving by the German Renaissance artist Albrecht Dürer. One of his earliest signed engravings, it shows four nude, exuberant women gathered conspiratorially in a circle in a confined interior setting, perhaps a bath house, which appears to have entrances from either side. Although clearly erotic, a small horned demon, perhaps representing temptation, is positioned in the left hand portal, peering out and holding what may be a hunting object, and is engulfed in flames.
The "Power of Women" is a medieval and Renaissance artistic and literary topos, showing "heroic or wise men dominated by women", presenting "an admonitory and often humorous inversion of the male-dominated sexual hierarchy". It was defined by Susan L. Smith as "the representational practice of bringing together at least two, but usually more, well-known figures from the Bible, ancient history, or romance to exemplify a cluster of interrelated themes that include the wiles of women, the power of love, and the trials of marriage". Smith argues that the topos is not simply a "straightforward manifestation of medieval antifeminism"; rather, it is "a site of contest through which conflicting ideas about gender roles could be expressed".
In Jungian depth psychology, the witch archtype is a common portrayal of a woman, usually old and living alone, who practices dark magic. Witches are typically considered to be a dangerous, lurking threat. How the witch archetype is viewed typically depends on the religious and political context as well as the social context and its gender politics. Jean La Fontaine wrote that the "stereotype of evil appears not to have been closely connected to the actions of real people except when it was mobilised against the current enemies of the Church."
