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Hans Sebald Beham

Hans Sebald Beham was banished from Nuremberg in 1525 and later engraved entire fairs on postage-stamp-sized sheets.


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Hans Sebald Beham

Hans Sebald Beham was banished from Nuremberg in 1525 and later engraved entire fairs on postage-stamp-sized sheets. more about the artist
Germany · 1500–1550 · Illustration, Deutsche Renaissance · 551 artworks found
Hans Sebald Beham
1500–1550
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
Hans Sebald Beham

Hans Sebald Beham

    1500   -   November 22, 1550

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Dürer's death, he published a small book on the proportions of the horse in 1528; he was accused of drawing on Dürer's unpublished studies of proportion, and Dürer's widow was behind the complaint. In July 1528, the council prohibited its sale until Dürer's own, still unpublished work on proportion had appeared.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.

Artworks by Hans Sebald Beham

551 artworks found
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551 artworks found

Hans Sebald Beham
 
1541 | Engraving in black on ivory laid paper

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Hans Sebald Beham
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Hans Sebald Beham
The Peasant Wedding or the Twelv...
Undated | engraving/engraving/engraving

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Hans Sebald Beham
 
1540 | engraving on laid paper

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Hans Sebald Beham
Logica (Dialectica) (title on ob...
Undated | paper

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Hans Sebald Beham
Bonde og hans elskerinde
1521 | Copper engraving

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Hans Sebald Beham
 
1520 | engraving on laid paper

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Hans Sebald Beham
The Saviour, 1546.
Undated | engraving/engraving/engraving

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Hans Sebald Beham
 
1544 | Engraving in black on ivory laid paper

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Hans Sebald Beham
Saint Mathias, 1541-46
1541 | engraving

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Hans Sebald Beham
The Fall of Adam and Eve, c.1525...
16th century | woodcut

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Hans Sebald Beham
The Knowledge of God and the Sev...
Undated | engraving

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Hans Sebald Beham
Coat of Arms with a Cock, 1543 (...
1543 | engraving on laid paper

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Hans Sebald Beham
Science, Art and Commerce (pen a...
16th century | pen and ink

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Hans Sebald Beham
Peasant Woman at Market: Zum Wei...
1542 | engraving on laid paper

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Hans Sebald Beham
The Labors of Hercules: Hercules...
Undated | engraving/engraving/engraving

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Hans Sebald Beham
The Knowledge of God and the Sev...
Undated | engraving

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Hans Sebald Beham
The Prodigal Son Wasting his For...
1540 |

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Hans Sebald Beham
The Prodigal Son: Wasting His Fo...
Undated | engraving/engraving/engraving

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Hans Sebald Beham
The Knowledge of God and the Sev...
Undated | engraving

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Hans Sebald Beham
The Knowledge of God and the Sev...
Undated | engraving

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Hans Sebald Beham
The Labors of Hercules: Hercules...
Undated | engraving/engraving/engraving

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Hans Sebald Beham
Coat-of-Arms of the Kress von Kr...
1549 | woodcut

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Hans Sebald Beham
The Labors of Hercules: Hercules...
Undated | engraving/engraving/engraving

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Hans Sebald Beham
Festende bønder (Juli og august)
1546 | Copper engraving

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Hans Sebald Beham
The Knowledge of God and the Sev...
Undated | engraving

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Hans Sebald Beham
The Knowledge of God and the Sev...
Undated | engraving/engraving/engraving

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Hans Sebald Beham
Portrait of a stranger
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Hans Sebald Beham
The Knowledge of God and the Sev...
Undated | engraving/engraving/engraving

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Hans Sebald Beham
The Knowledge of God and the Sev...
Undated | engraving

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Hans Sebald Beham
The Wedding Procession: Couple w...
1545 | engraving on laid paper

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Hans Sebald Beham
 
1549 | Engraving in black on ivory laid paper

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Hans Sebald Beham
Fortune, 1541.
Undated | engraving/engraving/engraving

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Hans Sebald Beham
 
1535 | Woodcut from four blocks on ivory laid paper

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Hans Sebald Beham
Satyr Woman Playing Bagpipe, c.1...
1525 | engraving

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Hans Sebald Beham
Moon, plate seven from The Seven...
1539 | Engraving in black on ivory laid paper

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Hans Sebald Beham
Mucius Scaevola Holding His Hand...
Undated | etching/etching/etching

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Hans Sebald Beham
Alexander the Great Leading Buce...
1550 | engraving

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Hans Sebald Beham
The Peasant Wedding or the Twelv...
1546 | engraving

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Hans Sebald Beham
 
1546 | engraving

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Hans Sebald Beham
The Labors of Hercules: Hercule...
1545 | engraving

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Hans Sebald Beham
The Knowledge of God and the Sev...
Undated | engraving

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Hans Sebald Beham
 
1542 | Engraving in black on ivory laid paper

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Hans Sebald Beham
The Knowledge of God and the Sev...
Undated | engraving/engraving/engraving

Choose picture

Hans Sebald Beham
The Peasant Wedding or the Twelv...
Undated | engraving/engraving/engraving

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Hans Sebald Beham
The Prodigal Son: Wasting His F...
Undated | engraving

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Hans Sebald Beham
St. Luke, from The Four Evangelists
1541 | Engraving in black on ivory laid paper

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Hans Sebald Beham
 
1543 | engraving on laid paper

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Hans Sebald Beham
The Labors of Hercules: Hercules...
Undated | engraving/engraving/engraving

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Hans Sebald Beham
 
1548 | engraving on off-white laid paper

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Hans Sebald Beham
The Labors of Hercules: Hercule...
1545 | engraving

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Hans Sebald Beham
 
1542 | Engraving in black on ivory laid paper

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Hans Sebald Beham
The Peasant Wedding or the Twelv...
1546 | engraving

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Hans Sebald Beham
The Feast of Herod (woodcut, pri...
Undated | Woodcut, printed from two blocks

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Hans Sebald Beham
Venus en Cupido
Undated | paper

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Hans Sebald Beham
St. Andrew, 1545-1546.
Undated | engraving/engraving/engraving

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Hans Sebald Beham
The Prodigal Son with the Swine,...
1538 | engraving

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Hans Sebald Beham
The Prodigal Son: Return of the ...
Undated | engraving/engraving/engraving

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Hans Sebald Beham
 
Undated | paper

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Hans Sebald Beham
The Peasant Wedding or the Twelv...
1546 | engraving

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Hans Sebald Beham
The Peasant Wedding or the Twelv...
1546 | engraving

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Hans Sebald Beham
The Labors of Hercules: Hercules...
Undated | engraving/engraving/engraving

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Heinrich Aldegrever
De nacht Die Nacht (title on ob...
Undated | paper

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Heinrich Aldegrever
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Hans Sebald Beham
 
1521 | engraving on laid paper

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Hans Sebald Beham
St. Philip, 1545-1546.
Undated | engraving/engraving/engraving

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Hans Sebald Beham
The Labors of Hercules: Hercules...
Undated | engraving/engraving/engraving

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Hans Sebald Beham
The Knowledge of God and the Sev...
Undated | engraving/engraving/engraving

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Hans Sebald Beham
 
1547 | engraving on off-white laid paper

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Hans Sebald Beham
 
1540 | Engraving in black on ivory laid paper

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Hans Sebald Beham
 
1543 | engraving on laid paper

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Hans Sebald Beham
 
1546 | opaque watercolor and gold on paper

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Hans Sebald Beham
 
1548 | engraving

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Hans Sebald Beham
 
1541 | engraving on laid paper

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Hans Sebald Beham
Dood van Cleopatra Kleopatra (t...
Undated | paper

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Hans Sebald Beham
The Knowledge of God and the Sev...
Undated | engraving/engraving/engraving

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Hans Sebald Beham
The Peasants' Feast (Alder du mu...
1547 | engraving on laid paper

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Hans Sebald Beham
 
1542 | engraving

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Hans Sebald Beham
Three women and Dead, c. 1546-50
1550 | engraving

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Hans Sebald Beham
The Prodigal Son: Departure of ...
Undated | engraving

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Hans Sebald Beham
 
1539 | engraving on laid paper

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Hans Sebald Beham
Frieze with a vase flanked by ma...
1544 | engraving on laid paper

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Monogrammist AC
 
Undated | paper

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Hans Sebald Beham
The Labors of Hercules: Hercule...
1548 | engraving

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Hans Sebald Beham
Der Kleine Schalksnarr mit gross...
Undated | engraving

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Hans Sebald Beham
 
1541 | Engraving in black on ivory laid paper

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Hans Sebald Beham
The Labors of Hercules: Hercules...
Undated | engraving/engraving/engraving

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Hans Sebald Beham
Lichas Bringing the Garment of N...
1540 | engraving on laid paper

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Hans Sebald Beham
The Knowledge of God and the Sev...
Undated | engraving/engraving/engraving

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Page 1 / 6

About the artist

Hans Sebald Beham
Hans Sebald Beham
1500–1550
Born1500 (Nürnberg)
Died1550 (Frankfurt am Main)
NationalityGermany
EpochsIllustration, Deutsche Renaissance
Professionpainter, illustrator, graphic artist, exlibrist, draftsperson
Family
Spouse: Anna Beham
Sibling: Barthel Beham
Notable worksScenes from the Life of David (1534), Patience by Hans Sebaldus Beham - Sebald Beham (1540), Korsfästelsen, Korsbärandet, Konungarnas tillbedjan
MuseumsArt 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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+43 4257 29415
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Mo-Do: 7:00 - 16:00 | Fr: 7:00 - 13:00

Still have questions?

Are you interested in an art print from our manufactory but still unsure? Do you need advice on choosing the medium or help with the order?

Our experts are happy to assist you.

+43 4257 29415
support@meisterdrucke.com
Mo-Do: 7:00 - 16:00 | Fr: 7:00 - 13:00


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        support@meisterdrucke.com
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