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Hans Baldung Grien's Ottawa Eve and Its Context

A. Kent Hieatt
The Art Bulletin
Vol. 65, No. 2 (Jun., 1983), pp. 290-304
Published by: College Art Association
DOI: 10.2307/3050323
Stable URL: http://www.jstor.org/stable/3050323
Page Count: 15
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Hans Baldung Grien's Ottawa Eve and Its Context
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Abstract

One of his most important paintings, the recently discovered Ottawa Eve, is studied. It can now be dated 1529-33 (and probably ca. 1531) and in the light of a contemporary intellectual tradition, interpreted in terms of a sexual understanding of the Fall, and a highly original fusion of certain other themes and motifs. Iconographic and other connections are then established with the Kassel Hercules and Antaeus, dated 1531, and conclusions about certain of Baldung's other works, particularly later ones, are entailed. A resulting conception of Baldung as having followed a Christian humanist line in his later work brings the author to take issue briefly with Jean Wirth, La Jeune Fille et la mort (1979).

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