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A Date with Death: How the Female Body and the Corpse Body Became Ciphers for Sin

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A Date with Death: How the Female Body and the Corpse Body Became Ciphers for Sin A Date with Death: How the Female Body and the Corpse Body Became Ciphers for Sin and Objects of Abjection in the Art of Hans Baldung Grien A thesis presented to the faculty of The Honors Tutorial College of Ohio University In partial fulfillment of the requirements for the degree Bachelor of Arts in Art History Shelly L. Lisle May 2021 © 2021 Shelly L. Lisle. All Rights Reserved. 2 This thesis titled A Date with Death: How the Female Body and the Corpse Body Became Ciphers for Sin and Objects of Abjection in the Art of Hans Baldung Grien by SHELLY L. LISLE has been approved for the School of Art + Design and the College of Fine Arts by Charles S. Buchanan Associate Professor of the School of Interdisciplinary Arts Donal C. Skinner Dean, Honors Tutorial College 3 Abstract LISLE SHELLY L., B.A., May 2021, Art History A Date with Death: How the Female Body and the Corpse Body Became Ciphers for Sin and Objects of Abjection in the Art of Hans Baldung Grien Director of Thesis: Charles S. Buchanan This thesis seeks to explore and rationalize the relationship between death and the maiden imagery during the time of the German Renaissance. For centuries artists and art historians have tried to find answers to this enigmatic pairing. Some trace the iconography back to the story of Persephone and Hades, while others see it as simply a representation of life’s transience. This thesis provides an explanation by applying Julia Kristeva’s notion of “the abject” to Hans Baldung Grien’s Death and the Maiden. Grien along with other male artists of this period used the female nude and the corpse body within their artwork to symbolize sin and the vices of men. This association contributed to the abject othering of both the female body and the dead body, as Kristeva views sin as ‘subjectified abjection’. This thesis analyzes the gender politics and burial practices of the Christian West during the Late Middle Ages and German Renaissance. Politics and cultural practices positioned the female body and the dead body with “the abject,” as they were seen as products of sin. Death and the Maiden were often paired together because both bodies in the iconography were “the abject,” through which the cultural practices and preachings of Christianity during the Late Middle Ages and Early German Renaissance framed themselves. The maiden represented the female sex, which threatened to corrupt the spiritual self and stain the soul, while death represented the corruption of the physical self and the eternal rot of the sinner’s body. These abject symbols of sin bridged death with the maiden, leading to an abundance of iconography related to the topic, which is still found in artwork today. 4 Dedication This thesis is dedicated to my advisor Charles Buchanan, who helped me through the elaborate and complicated process, as well as my close friends at Ohio University, without whom I would not have made it through such a tough year. 5 Table of Contents Page Abstract ...........................................................................................................................3 Dedication .......................................................................................................................4 List of Figures .................................................................................................................6 Introduction to Hans Baldung Grien’s Death and the Maiden ..........................................7 Part 1 The Maiden: Abjection and the Female Sex during the German Renaissance ....... 16 Part 2 Death: Abjection and the Corpse Body during the German Renaissance .............. 33 Conclusion: Modern and Contemporary Revivals of Death and the Maiden .................. 52 References ..................................................................................................................... 60 6 List of Figures Page Figure 1: Hans Baldung Grien, Death and the Maiden, 1518-20, oil on panel, Öffentliche Kunstsammlung, Basel ....................................................................................................7 Figure 2: Niklaus Manuel Deutsch, Death and the Maiden, 1517 .....................................9 Figure 3: Eve, the Serpent, and Death by Hans Baldung Grien,1510-12, National Gallery of Canada, Ottawa ......................................................................................................... 16 Figure 4:Hans Baldung, Witches' Sabbath, 1510, chiaroscuro woodcut, Metropolitan Museum of Art, New York ............................................................................................ 30 Figure 5: Adam and Eve, detail of Achille Jubinal’s reconstruction of the first pier at La Chaise-Dieu drawing originally published in Explication de la danse des morts de La Chaise-Dieu ................................................................................................................... 31 Figure 6: Death and the Widow (Left) Death and the Daughter (Right) watercolor copies by Albrecht Kauw of Niklaus Manuel’s Dance of Death cycle on the walls of the cemetery of the Dominican monastery in Bern,copy painted in 1649, original in 1517 .. 33 Figure 7: Pride, One of the Five Temptations of the Dying Man, Ars moriendi, Netherlands, c.1460 ....................................................................................................... 38 Figure 8: Death and the Prostitute, 1401-1500, Paris: Bibliotheque Nationale Ms. fr. 995 f.37v .............................................................................................................................. 47 Figure 9: Hans Baldung Grien, Death with an Inverted Banner, 1506, pen and ink, Kupferstichkabinett, Kunstmuseum, Basel ..................................................................... 51 Figure 10: Edvard Munch, Death and the Maiden, 1894, private collection ................... 54 Figure 11: Edvard Munch, Harpy, 1899, Lithographic crayon, Munch-museet, Oslo ..... 56 Figure 12: Marina Abramovic, Self-Portrait with a Skeleton, 2003, Cibachrome print, Sean Kelly Gallery, New York ...................................................................................... 57 7 Introduction to Hans Baldung Grien’s Death and the Maiden Painted on a panel by the German artist Hans Baldung Grien is a striking image of a nude woman being kissed by a corpse (Figure 1). Her deathly pale skin is contrasted to the tanned, mummified skin of the corpse who embraces her. As the skeletal figure roughly grabs at her side and pulls back her head by her hair, a tear streams down the woman’s face. It is clear the encounter is not consensual. The woman is shocked and unable to escape the corpse body that comes to life before her very eyes. What is gained from pairing together the notions of love and death, the ancient Greek personifications of eros and thanatos, respectively? Who would choose to paint such an image, let alone create several more? Figure 1: Hans Baldung Grien, Death and the Maiden, 1518-20, oil on panel, Öffentliche Kunstsammlung, Basel 8 From 1509-1517 Grien created several versions of this iconography: a female nude interacting with a personification of death.1 His Death and the Maiden paintings lack sufficient information on patronage, but the purpose of these works appears to have been personal. They are intimate and erotic. Whether the viewer is supposed to feel a sense of arousal, disgust, or both is unclear. What is certain is the sense of voyeurism present. Before Grien began to illustrate Death and the Maiden, he moved to Nuremberg and became a member of Albrecht Dürer’s workshop, where it is believed he acquired his nickname: Grien, believed to come from the artist’s use of the color green. He even took over as the head of Dürer’s shop while the German master went on a trip to Italy in 1506.2 Art historians have explained the close connection between the two artists in terms of economic and social benefits. All other major German artists of the period came from middle-class, artisanal families, whereas Grien was born into the professional class of university-trained lawyers, doctors, and bureaucrats. While Grien’s art improved with Dürer’s professional instruction, his master benefited from his apprentice’s superior background and connections.3 It appears certain that this iconography was viewed by his fellow artists. There is a sense that the death and the maiden iconography was produced for this group of men to look at. Indeed, several artists within this workshop recreated the iconography in their works. For example, Niklaus Manuel Deutsch (Figure 2) and Hans 1 James H. Morrow, and Alan Shestack, Hans Baldung Grien : Prints and Drawings, (Yale University Art Gallery, 1981) 9. 2 Joseph Leo Koerner, The Moment of Self-Portraiture in German Renaissance Art (Chicago, University of Chicago Press, 1996), 250. 3 Koerner, The Moment of Self-Portraiture in German Renaissance Art, 250. 9 Sebald Beham used the motif of “Death and the Maiden” as inspiration.4 The etching by Niklaus Manuel Deutsche shows us a scene similar to Grien’s piece except that his woman is clothed. Figure 2: Niklaus Manuel Deutsch, Death and the Maiden, 1517 But a broader examination of Hans Baldung Grien’s oeuvre reveals that he depicted the female nude frequently and in different contexts. Whether it be as Venus, Eve, a witch, or an allegorical figure, Grien had a fascination for depicting women in positions of sexual power and demise.5 As for the combination of the sexual prowess 4Helen Fronius, and Anna Linton, Women and Death : Representations
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