File:Die Nacht (The Night) (BM 1920,1206.1).jpg

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Die Nacht (The Night)   (Wikidata search (Cirrus search) Wikidata query (SPARQL)  Create new Wikidata item based on this file)
Artist
Sebald Beham
Title
Die Nacht (The Night)
Description
English: Nude woman lying asleep on a bed, to her left view of a night sky with stars and the moon through a window.
Engraving
Depicted people Illustration to: Ovid
Date 1548
date QS:P571,+1548-00-00T00:00:00Z/9
Medium paper
Dimensions
Height: 111 millimetres
Width: 78 millimetres
institution QS:P195,Q6373
Current location
Prints and Drawings
Accession number
1920,1206.1
Notes

The inscription taken from Ovid's 'Amores'. Together with the classical style of the bed it is intended to evoke antiquity. In contrast to most of his other small erotic engravings, this is Sebald's own design and not based on works by his brother Barthel. See Giulia Bartrum, 'German Renaissance Prints', exh. cat., BM, London 1995, no.108.

Text from Bartrum 1995 Literature: Bartsch, 153; Pauli, 154 I; Hollstein, p.93

There was a flourishing market for erotic prints in mid-sixteenth century Germany. This is testified by the numerous copies executed by Sebald after Barthel's erotic designs, which were all made after the latter's death in 1540. The brothers made various prints of the traditional bath-house scene, which they exploited in a much more explicit manner than earlier representations of the subject, such as the woodcut by Dürer (see E,2.378; Pauli, Sebald Beham, 210, 211, 1120, 1223).

Unusually for Sebald's small erotic engravings of this date, this composition appears to be his own rather than after Barthel. It is a fine impression of the rare first state the print. The classical type of construction for the bed and the Latin inscription, which comes from Ovid's 'Amores', show a deliberate attempt to evoke antiquity. The provocative pose of the woman also has classical associations and is seen in Italian print series of the 'Loves of the Gods', such as that of Giulio Bonasone of c.1530-4 and Jacopo Caraglio of 1527-8 (see Goddard, pp. 177f). The eroticism of Beham's image is considerably heightened, however, by the way the woman is depicted alone: the sexual invitation, usually extended to another figure seen in the image, is here presented to the viewer.
Source/Photographer https://www.britishmuseum.org/collection/object/P_1920-1206-1
Permission
(Reusing this file)		 © The Trustees of the British Museum, released as CC BY-NC-SA 4.0

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