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Beggars and Their Vanities (recto) and Of Irate Women (verso) from...1497...assembled 1929. Creators: Unknown, Johann Reinhard Grüninger, Sebastian Brant, Wilhelm Ludwig Schreiber
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Beggars and Their Vanities (recto) and Of Irate Women (verso) from...1497...assembled 1929. Creators: Unknown, Johann Reinhard Grüninger, Sebastian Brant, Wilhelm Ludwig Schreiber
Beggars and Their Vanities (recto) and Of Irate Women (verso) from Navis Stultifera (Ship of Fools), Plate 30 from Woodcuts from Books of the 15th Century, 1497, portfolio assembled 1929
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Media ID 36197860
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Donkey Full Laden Letterpress Page Portfolio Schreiber Wilhelm Ludwig Sebastian Brant Wilhelm Ludwig Schreiber Wove Paper Laid Paper Parody Satirical
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Beggars and Their Vanities
EDITORS COMMENTS
(recto) and "Of Irate Women" (verso) are two intriguing woodcut prints from the "Navis Stultifera" (Ship of Fools) series, created in 1497, with the portfolio assembled in 1929. The creators of these captivating works remain unknown, but they are attributed to Johann Reinhard Grüninger, Sebastian Brant, and Wilhelm Ludwig Schreiber. These prints depict scenes of human folly and societal critique, reflecting the 15th-century European perspective on the absurdities of human behavior. The recto side, "Beggars and Their Vanities," presents a lively scene of beggars and their companions engaging in various amusing and sometimes absurd activities. The vanities of the beggars are illustrated through their actions, such as a man playing a game of dice, a woman combing her hair, and a group of children playing with a donkey. On the verso side, "Of Irate Women," the woodcut print satirically portrays a group of angry women, each expressing her frustration and indignation. The women are depicted as animals, with a lioness, a she-bear, and a sow among them, emphasizing their primal emotions and loss of reason. These prints, with their intricate details and vivid imagery, offer a fascinating glimpse into the art, literature, and culture of the 15th and 20th centuries. They are a testament to the enduring appeal of satire and the human impulse to poke fun at the absurdities of life. The prints are now part of the esteemed collection of the Art Institute of Chicago, where they continue to captivate and inspire visitors from around the world.
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