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Viewer to Understand Witches and Eve As Natural Women Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2012 The Nature of the Natural Woman Ann Marie Adrian Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF VISUAL ARTS, THEATRE & DANCE THE NATURE OF THE NATURAL WOMAN By ANN MARIE ADRIAN A Thesis submitted to the Department of Art History in partial fulfillment of the requirements for the degree of Master of Arts Degree Awarded: Spring Semester, 2012 Ann Marie Adrian defended this thesis on Monday, March 26th, 2012. The members of the supervisory committee were: Stephanie Leitch Professor Directing Thesis Jack Freiberg Committee Member Lauren Weingarden Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the thesis has been approved in accordance with university requirements. ii ACKNOWLEDGEMENTS Firstly, I would like to extend my utmost gratitude to my thesis advisor Dr. Stephanie Leitch. Her vast knowledge of art history and brilliant insight provided me with a strong foundation on which to begin this project. Her guidance, encouragement, and enthusiasm were invaluable in helping me through the research, writing and revising, and made this project most enjoyable. I would also like to thank my committee members Dr. Jack Freiberg and Dr. Lauren Weingarden, for helping me get off on the right foot and their advice in the final stages. Additionally, I extend my gratitude to the staff members of the Blanton Museum of Art in Austin, Texas, the Metropolitan Museum of Art, the Pierpont Morgan Library and Museum, and the New York Public Library for their patience and cooperation with retrieving numerous prints, drawings and books for my research and graciously answering all of my questions. I could not have seen these invaluable objects, however, without the Helen J. Beard Thesis Research and Travel Award, for which I am grateful to have received. I would like to extend my gratitude to Kathy Braun who made this entire process nothing but smooth-sailing and whose kind words calmed my frazzled nerves on more than one occasion. Last, but not least, I would like to thank all of my fellow grad friends who provided moral support and advice throughout this entire process. I would also like to thank my mom Amy, my dad Mike, my brother Matthew, and my best friend and partner, Lee for their inexhaustible patience and never-ending support and love. I could not have done it without you. iii TABLE OF CONTENTS List of Figures ..................................................................................................................................v Abstract ........................................................................................................................................ viii 1. CHAPTER ONE: INTRODUCTION TO THE CRITICAL THEMES AND LITERATURE UNDERLYING THE NATURAL WOMAN .................................................................................1 2. CHAPTER TWO: HUNTING FOR WITCHES ...................................................................12 3. CHAPTER THREE: THE ORIGINS OF THE NATURAL WOMAN ................................39 4. CHAPTER FOUR: CONCLUSION .....................................................................................63 Appendix: Figures ..........................................................................................................................65 Bibliography ..................................................................................................................................92 Biographical Sketch .......................................................................................................................97 iv LIST OF FIGURES Figure 1. Hans Baldung Grien, Witches’ Sabbath, 1510. Chiaroscuro woodcut with grey tone block. New York, The Metropolitan Museum of Art ....................................................................65 Figure 2. Hans Baldung Grien, Witches’ Sabbath, 1510. Chiaroscuro woodcut with ochre tone block. London, British Museum ....................................................................................................66 Figure 3. Hans Baldung Grien, Witches’ Sabbath, 1510. Woodcut. New York, Metropolitan Museum of Art ...............................................................................................................................67 Figure 4. Anonymous Artist, Witches Banqueting. From Ulrich Molitior, De lamiis et phitonicis mulieribus (Constance, 1489). Woodcut illustration. New York, New York Public Library .......68 Figure 5. Anonymous Artist, Weather Magic. From Ulrich Molitior, De lamiis et phitonicis mulieribus (Constance, 1489). Woodcut illustration. New York, New York Public Library .......68 Figure 6. Anonymous Artist, Witch Embracing her Incubus Lover. From Ulrich Molitior, De lamiis et phitonicis mulieribus (Constance, 1489). Woodcut illustration. New York, New York Public Library ................................................................................................................................68 Figure 7. Anonymous Artist, Weather Magic. From Ulrich Molitior, De lamiis et phitonicis mulieribus (1500). Woodcut Illustration. Berlin, Berlin State Library..........................................69 Figure 8. Anonymous Artist, Witch Embracing her Incubus Lover. From Ulrich Molitior, De lamiis et phitonicis mulieribus (1500). Woodcut Illustration. Berlin, Berlin State Library ..........69 Figure 9. Hans Baldung Grien, Fall of Man, 1511. Chiaroscuro woodcut with grey tone block. New York, The Metropolitan Museum of Art ...............................................................................70 Figure 10. Lucas Cranach the Elder, St. George and the Dragon, 1507. Woodcut printed from two line blocks in black and glue on indigo-wash paper, gold flocking added to glue. London, British Museum ..............................................................................................................................71 Figure 11. Hans Burgkmair, St. George on Horseback, 1508. Woodcut from two blocks on blue- tinted paper. Cambridge, Fitzwilliam Museum .............................................................................72 Figure 12. Hans Burgkmair, St. George on Horseback, 1508. Woodcut from two blocks on tan paper ...............................................................................................................................................72 Figure 13. Hans Burgkmair, The Emperor Maximilion on Horseback, 1508. Woodcut from two blocks in black and white on blue-tinted paper. Cleveland, Cleveland Museum of Art ...............73 Figure 14. Hans Burgkmair, The Emperor Maximilan on Horseback, 1508. Woodcut from two blocks in black and gold on vellum. Chicago, The Art Institute of Chicago .................................73 v Figure 15. Hans Burgkmair, Lovers Overcome by Death, 1510. Chiaroscuro woodcut from three blocks: light teal, dark teal, and dark grey. New York, The Metropolitan Museum of Art ..........74 Figure 16. Hans Burgkmair, Lovers Overcome by Death, 1510. Chiaroscuro woodcut from three blocks: tan, light grey, and dark grey. New York, The Metropolitan Museum of Art ..................74 Figure 17. Anonymous German Artist, God Shutting the Jews Up in the Caspian Mountains Where They Can Be Reached Only by the Queen of the Amazons. From John Mandeville, The Travels of Sir John Mandeville (Strasbourg: Johann Prüss, c.1483). Woodcut illustration. New York, New York Public Library, Spencer Collection ....................................................................75 Figure 18. Albrecht Dürer, The Witch, 1500. Engraving. New York, The Metropolitan Museum of Art ..............................................................................................................................................75 Figure 19. Albrecht Altdorfer, Departure for the Sabbath, 1506. Pen and ink with white heightening on brown-red-tinted paper. Paris, Musée du Louvre .................................................76 Figure 20. Copy after Hans Baldung, Naked Woman with Mirror, 1524. Oil on panel. Munich, Bayerische Staatsgemäldesammlungen .........................................................................................77 Figure 21. Copy after Hans Baldung, Women’s Bath with a Mirror. Oil on panel .......................77 Figure 22. Hans Baldung Grien, Fall of Man, 1511. Woodcut print .............................................78 Figure 23. Lucas van Leyden, Mary Magdalene, 1506. Engraving. Amsterdam, Rijksmuseum..................................................................................................................................79 Figure 24. Lucas Cranach the Elder, St. John the Baptist Preaching, 1516. Chiaroscuro woodcut print ................................................................................................................................................80 Figure 25. Lucas Cranach the Elder, St. John the Baptist in the Wilderness, c. 1503. Pen with white heightening on brown-grounded paper. Lille, Musée des Beaux-Arts ................................81 Figure 26. Albrecht Altdorfer, Wild Family, c. 1510. Pen and ink with white heightening on brown-tinted paper. Vienna, Graphische Sammlung Albertina .....................................................82 Figure 27. Michael Wolgemut and Wilhelm Pleydenwurff, First Family. From Hartman Schedel, The Nuremberg Chronicle (Nuremberg:
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