Hans Baldung Grien or Grün was a German artist in painting and printmaking, considered the most gifted student of Albrecht Dürer. Throughout his lifetime, Baldung developed a distinctive style, full of color and imagination, his talents were varied, he produced a great and extensive variety of work including portraits, altarpieces, tapestries and mythological motifs. Hans Baldung was born in Swabia, Germany around the year 1484 to a family of intellectuals and professionals, his father was a lawyer and his uncle was a doctor, many other of his family members maintained professional degrees. In fact, Baldung was the first male in his family not to attend university, but was one of the first German artists to come from an academic family, his earliest training as an artist began around 1500 in the Upper Rhineland by an artist from Strasbourg. Beginning in 1503, Baldung was an apprentice for the most well renowned German artist of the day: Albrecht Dürer. Here, he may have been given his nickname “Grien.”
This name is thought to have come foremost from a preference to the color green: he seems to have worn green clothing. He also got this nickname to distinguish him from at least two other Hanses in Dürer's shop, Hans Schäufelein and Hans Suess von Kulmbach, he included the name "Grien" in his monogram, it has been suggested that the name came from, or consciously echoed, "grienhals", a German word for witch—one of his signature themes. Hans picked up Dürer's influence and style, they became good friends: Baldung managed Dürer's workshop during the latter's second sojourn in Venice. In his trip to the Netherlands in 1521 Dürer's diary shows that he took with him and sold prints by Baldung. On Dürer's death Baldung was sent a lock of his hair. Near the end of his apprenticeship, Grien oversaw the production of stained glass and engravings, therefore developed an affinity for them. In 1509, when Baldung's apprenticeship was complete, he moved back to Strasbourg and became a citizen there, he became a celebrity of the town, received many important commissions.
The following year he married Margarethe Herlin, a local merchant's daughter, joined the guild "zur Steltz", opened a workshop, began signing his works with the HGB monogram that he used for the rest of his career. His style became much more deliberately individual—a tendency some art historians have termed "mannerist." In addition to traditional religious subjects, Baldung was concerned during these years with the profane theme of the imminence of death and with scenes of sorcery and witchcraft. He helped introduce supernatural and erotic themes into German art, although these were amply present in his master's work. Most famously, he depicted witches a local interest: Strasbourg's humanists studied witchcraft and its bishop was charged with finding and prosecuting witches, his most characteristic paintings are small in scale. The number of Hans Baldung's religious works diminished with the Protestant Reformation, which repudiated church art as either wasteful or idolatrous, but earlier, around the same time that he produced Adam and Eve, the artist became interested in themes related to death, the supernatural, witchcraft and the relation between the sexes.
Baldung's fascination with witchcraft lasted to the end of his career. Hans Baldung Grien's work depicting witches was produced in the first half of the 16th century, before witch hunting became a widespread cultural phenomenon in Europe, thus Baldung's work did not represent cultural beliefs at the time of creation but individual choices. Furthermore, Baldung never worked directly with any Reformation leaders to spread religious ideals through his artwork, although living in fervently religious Strasbourg, although he was a supporter of the movement, working on the high altar in the city of Münster, Germany. Baldung was the first artist to incorporate witches and witchcraft into his artwork. During his lifetime there were minimal witch trials, as well as a lack of witch manuals or witch hunts, some believe Baldung's depictions of witchcraft to be based on folklore rather than the cultural beliefs of his time. By contrast, throughout the early sixteenth century, humanism became popular, within this movement, Latin literature was valorized poetry and satire.
Baldung partook in this culture, producing not only many works depicting Strasbourg humanists and scenes from ancient art and literature, but what some have described as his satirical take on his depiction of witches. Gert von der Osten comments on this aspect of "Baldung his witches humorously, an attitude that reflects the dominant viewpoint of the humanists in Strasbourg at this time who viewed witchcraft as'lustig,' a matter, more amusing than serious". Furthermore, his art represents ideals presented in ancient Greek and Roman poetry, such as the pre-16th century notion that witches could control the weather, which Baldung is believed to have alluded to in his 1523 oil painting "Weather Witches", which showcases two attractive and naked witches in front of a stormy sky. Baldung regularly incorporated scenes of witches flying in his art, a characteristic, contested centuries before his artwork came into being. Flying was inherently attributed to witches by those who believed in the myth of the Sabbath, such as Baldung, which he depicted in works like "Witches Preparing for t
Henri Louis Ernest Jouard was a French lawyer and World War I soldier, an ornithologist. He was the founding editor of the French ornithological journal Alauda. Jouard went to school at the École alsacienne in Paris, at the Gymnasium Carnot in Dijon, studying art and philosophy, he studied law in Paris from 1914 but was interrupted when the First World War broke out. He was conscripted and from April 1915 he served in the 35th regiment of infantry, he became a sergeant and moved to the 42nd regiment.d'infantry. He was wounded at Fort Vaux in 1916 and after recovery, he was posted at Buffle in 1917 where he escaped narrowly by hiding in a trench. In 1918 he was wounded in the lung during the Battle of the Mill of Laffaux, he persuaded the German soldiers to give up their resistance. When the 42nd regiment captured the area, he was found injured along with German prisoners, he was awarded the Officier de la Légion d'honneur and the Order of Croix de guerre in 1932. He resumed his studies and received his law doctorate.
He practiced as a lawyer with the Dijon Bar Association. Jouard became interested in birds as a child and was influenced by Henri Davriot Albertier of Beaune, a family friend, he became interested in the birds of the mountain regions and was interested in bird songs and calls. He used the term Ornithomélographie for the study of bird song, he wrote numerous articles on birds and attempted to influence Boy Scouts to take up bird study and protection. He was the first editor of the journal Alauda started in 1929 by Paul Paris and others
The 1943–44 Army Cadets men's basketball team represented the United States Military Academy during the 1943–44 intercollegiate basketball season in the United States. The head coach was coaching in his first season with the Cadets; the team finished the season with a 15–0 record and was retroactively named the national champion by the Helms Athletic Foundation and the Premo-Porretta Power Poll. The Helms and NCAA Division I Tournament champions were the same except for 1939, 1940, 1944, 1954 when Oregon, Utah, La Salle won the tournament. Dale Hall was named a consensus All-American as well as the Sporting News National Player of the Year. Source