| Born | 1500 (Nürnberg) |
| Died | 1550 (Frankfurt am Main) |
| Nationality | Germany |
| Epochs | Illustration, Deutsche Renaissance |
| Profession | painter, illustrator, graphic artist, exlibrist, draftsperson |
| Family | Spouse: Anna Beham Sibling: Barthel Beham |
| Notable works | Scenes from the Life of David (1534), Patience by Hans Sebaldus Beham - Sebald Beham (1540), Korsfästelsen, Korsbärandet, Konungarnas tillbedjan |
| Museums | Art Institute of Chicago, Cleveland Museum of Art, Los Angeles County Museum of Art (LACMA), Staatliche Museen zu Berlin, Statens Museum for Kunst |
In January 1525, the council of the Free Imperial City of Nuremberg had three young painters from Albrecht Dürer's circle arrested. They were Georg Pencz, Barthel Beham and his brother Sebald Beham, an engraver born in Nuremberg in 1500. Older literature calls him Hans Sebald Beham, although no document attests to the first name Hans - even the name of this defendant remains an open question. The three were charged with blasphemy, sectarianism and the denial of secular authority; according to later sources, they declared in essence that they believed in God but thought nothing of Christ, baptism and the sacraments, and recognized no authority but God. The sentence passed on 26 January 1525 was banishment; the council refrained from torture, and by November all three were permitted to return to the city. What remained was the name in the records: the three godless painters.
Three years later, Beham once again found himself at odds with the council. A few months after Dürer's death, he published a small book on the proportions of the horse in 1528; he was accused of drawing on Dürer's unpublished studies of proportion, and Dürer's widow was behind the complaint. In July 1528, the council prohibited its sale until Dürer's own, still unpublished work on proportion had appeared. Beham withdrew to Ingolstadt, returned to Nuremberg in February 1529 - and calmly reused the disputed material a second time in 1546, in a textbook of his own.
Who was this man? A German engraver, etcher and designer of woodcuts, trained, judging by everything the early prints reveal, in Dürer's circle; no apprenticeship contract has survived. Together with his brother Barthel and Georg Pencz, art history numbers him among the Little Masters, named for the tiny format of their engravings. When Sebald Beham died in Frankfurt am Main in 1550, he left behind around 270 engravings and well over 1,000 woodcuts; he had signed them with a monogram like a trademark, first HSP, reflecting the Franconian pronunciation Peham, and later HSB. The sources differ on what the H stood for - the monogram, too, leaves his first name unresolved.
Just how small this art truly is can be seen in the series of apostles from the mid-1540s, whose plates measure approximately 4.8 by 3.2 centimetres. In “Saint Mathias,” the twelfth print in the series, a bearded apostle with a radiant halo stands before a wooden fence, a closed book tucked beneath his arm, his right hand resting on a long-handled axe, barefoot, with pouches at his belt - and every line is perfectly placed. In “Fortune” from 1541, the winged goddess of fortune strides forward carrying a bundle of ears of grain. A large sphere rests beside her foot, while in her left hand she holds the Wheel of Fortune; perched atop the wheel is a tiny man imploring her with an outstretched arm to stop it. Behind her, a sailing ship and a town on the shore pass by. This entire theatre of the world measures 79 by 51 millimetres.
Reproducing such prints is itself a process, and it hinges on just one critical point - whether the line remains a line. The screenless printing process Meisterdrucke uses to reproduce the engravings places neither halftone screens nor visible printing dots over the image, while a fine, natural white paper carries the delicate strokes. Every engraved hatch thus remains a line and does not tip into grey, even in the densest cross-hatching. In the end, therefore, it is not the print that is tested, but the engraver - and Beham's 79 by 51 millimetres withstand the scrutiny.
According to current research, Beham opened up an entirely new field as well: the peasant festival as a pictorial subject in its own right. Beginning in 1528, he cut large-format woodcuts of church fairs in Nuremberg, including the Mögeldorf Church Fair; tiny series of engravings followed in Frankfurt. In “The Peasants' Brawl” from 1540, peasants attack one another with swords and fists. Amid the turmoil, a woman kneels with her arms flung upwards, one man is already lying on the ground, and above their heads flutters a banderole bearing the rhyme: If you strike me, I will stab you. The same banderole flies above “The Peasant Wedding or the Twelve Months: No. 9, 1547,” a print from the Frankfurt series of 1546/47, which distributes the twelve months across ten small engravings and labels its celebrating, brawling peasants with the names of the months; here they fight beside a vine trellis, with a hat and pitchfork lying between the combatants. Scholars disagree on whether such scenes are mockery from above or celebrations of festivities witnessed first-hand - both can be seen in them. A generation before the Netherlandish painter Pieter Bruegel made the peasant festival a subject of world art, Beham had given it form.
Beham, the exile of 1525, ultimately became a citizen of another city. In 1531, Beham entered the service of Cardinal Albert of Brandenburg, for whom he painted prayer-book miniatures and a tabletop with scenes from the life of King David, which later entered the Louvre. From 1532, he lived in Frankfurt am Main, illustrated the 1533 Biblical Histories for the publisher Christian Egenolff, relinquished his Nuremberg citizenship in 1535 and took the Frankfurt citizens' oath in 1540. When Barthel died during a journey to Italy in 1540, Sebald took over his copper plates and continued printing his brother's subjects. He sold his work himself at the Frankfurt Book Fair, and by 1547 he lived right beside the fairgrounds; the large wall prints went to a broad public, while the small series went to collectors who pasted them into books. The market from which he made his living was thus directly outside his door.
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| Born | 1500 (Nürnberg) |
| Died | 1550 (Frankfurt am Main) |
| Nationality | Germany |
| Epochs | Illustration, Deutsche Renaissance |
| Profession | painter, illustrator, graphic artist, exlibrist, draftsperson |
| Family | Spouse: Anna Beham Sibling: Barthel Beham |
| Notable works | Scenes from the Life of David (1534), Patience by Hans Sebaldus Beham - Sebald Beham (1540), Korsfästelsen, Korsbärandet, Konungarnas tillbedjan |
| Museums | Art Institute of Chicago, Cleveland Museum of Art, Los Angeles County Museum of Art (LACMA), Staatliche Museen zu Berlin, Statens Museum for Kunst |
In January 1525, the council of the Free Imperial City of Nuremberg had three young painters from Albrecht Dürer's circle arrested. They were Georg Pencz, Barthel Beham and his brother Sebald Beham, an engraver born in Nuremberg in 1500. Older literature calls him Hans Sebald Beham, although no document attests to the first name Hans - even the name of this defendant remains an open question. The three were charged with blasphemy, sectarianism and the denial of secular authority; according to later sources, they declared in essence that they believed in God but thought nothing of Christ, baptism and the sacraments, and recognized no authority but God. The sentence passed on 26 January 1525 was banishment; the council refrained from torture, and by November all three were permitted to return to the city. What remained was the name in the records: the three godless painters.
Three years later, Beham once again found himself at odds with the council. A few months after Dürer's death, he published a small book on the proportions of the horse in 1528; he was accused of drawing on Dürer's unpublished studies of proportion, and Dürer's widow was behind the complaint. In July 1528, the council prohibited its sale until Dürer's own, still unpublished work on proportion had appeared. Beham withdrew to Ingolstadt, returned to Nuremberg in February 1529 - and calmly reused the disputed material a second time in 1546, in a textbook of his own.
Who was this man? A German engraver, etcher and designer of woodcuts, trained, judging by everything the early prints reveal, in Dürer's circle; no apprenticeship contract has survived. Together with his brother Barthel and Georg Pencz, art history numbers him among the Little Masters, named for the tiny format of their engravings. When Sebald Beham died in Frankfurt am Main in 1550, he left behind around 270 engravings and well over 1,000 woodcuts; he had signed them with a monogram like a trademark, first HSP, reflecting the Franconian pronunciation Peham, and later HSB. The sources differ on what the H stood for - the monogram, too, leaves his first name unresolved.
Just how small this art truly is can be seen in the series of apostles from the mid-1540s, whose plates measure approximately 4.8 by 3.2 centimetres. In “Saint Mathias,” the twelfth print in the series, a bearded apostle with a radiant halo stands before a wooden fence, a closed book tucked beneath his arm, his right hand resting on a long-handled axe, barefoot, with pouches at his belt - and every line is perfectly placed. In “Fortune” from 1541, the winged goddess of fortune strides forward carrying a bundle of ears of grain. A large sphere rests beside her foot, while in her left hand she holds the Wheel of Fortune; perched atop the wheel is a tiny man imploring her with an outstretched arm to stop it. Behind her, a sailing ship and a town on the shore pass by. This entire theatre of the world measures 79 by 51 millimetres.
Reproducing such prints is itself a process, and it hinges on just one critical point - whether the line remains a line. The screenless printing process Meisterdrucke uses to reproduce the engravings places neither halftone screens nor visible printing dots over the image, while a fine, natural white paper carries the delicate strokes. Every engraved hatch thus remains a line and does not tip into grey, even in the densest cross-hatching. In the end, therefore, it is not the print that is tested, but the engraver - and Beham's 79 by 51 millimetres withstand the scrutiny.
According to current research, Beham opened up an entirely new field as well: the peasant festival as a pictorial subject in its own right. Beginning in 1528, he cut large-format woodcuts of church fairs in Nuremberg, including the Mögeldorf Church Fair; tiny series of engravings followed in Frankfurt. In “The Peasants' Brawl” from 1540, peasants attack one another with swords and fists. Amid the turmoil, a woman kneels with her arms flung upwards, one man is already lying on the ground, and above their heads flutters a banderole bearing the rhyme: If you strike me, I will stab you. The same banderole flies above “The Peasant Wedding or the Twelve Months: No. 9, 1547,” a print from the Frankfurt series of 1546/47, which distributes the twelve months across ten small engravings and labels its celebrating, brawling peasants with the names of the months; here they fight beside a vine trellis, with a hat and pitchfork lying between the combatants. Scholars disagree on whether such scenes are mockery from above or celebrations of festivities witnessed first-hand - both can be seen in them. A generation before the Netherlandish painter Pieter Bruegel made the peasant festival a subject of world art, Beham had given it form.
Beham, the exile of 1525, ultimately became a citizen of another city. In 1531, Beham entered the service of Cardinal Albert of Brandenburg, for whom he painted prayer-book miniatures and a tabletop with scenes from the life of King David, which later entered the Louvre. From 1532, he lived in Frankfurt am Main, illustrated the 1533 Biblical Histories for the publisher Christian Egenolff, relinquished his Nuremberg citizenship in 1535 and took the Frankfurt citizens' oath in 1540. When Barthel died during a journey to Italy in 1540, Sebald took over his copper plates and continued printing his brother's subjects. He sold his work himself at the Frankfurt Book Fair, and by 1547 he lived right beside the fairgrounds; the large wall prints went to a broad public, while the small series went to collectors who pasted them into books. The market from which he made his living was thus directly outside his door.