The Kind of Virgin That Keeps a Parrot： Identity, Nature, and Myth in a Painting by Hans Baldung Grien  

作　　者：Bonnie J. Noble 

机构地区：[1]University of North Carolina at Charlotte, Charlotte, USA

出　　处：《Journal of Literature and Art Studies》2014年第9期702-721,共20页文学与艺术研究（英文版）

摘　　要：The 16th-century Protestant Reformation shattered the foundations of faith and art. As traditional theology was both besieged and defended, art had to adapt. Of course, a new theology needed new kinds of pictorial extrapolations. But truly, the most interesting change was hidden in plain sight. Subjects that may have looked familiar were in fact utterly new, because subversive ideas and contexts uprooted older meanings. The painting Madonna with Parrots （1533）, by Hans Baldung Grien demoted the chaste protectress by transforming her into a flawed, even dangerous, human mother. In the painting, an oddly sultry Virgin shows off her breast, her shoulder, and her chest as a parrot nibbles her neck. The complexities of Baldung＇s painting underpin debates about the status of the Virgin during the Reformation and the freedom of an artist to tamper with sacred subject matter.

关 键 词：VIRGIN MADONNA REFORMATION Witch Hans Baldung Grien Renaissance Albrecht DUrer 

分 类 号：Q959.731[生物学—动物学] J212.05[艺术—美术]