Urs Graf's artistic output, arising from the…
1527 CE
Urs Graf's artistic output, arising from the tradition of Dürer and Hans Baldung, includes a wide range of subjects, depicting social, erotic, military, political, and criminal images (e.g., Two Prostitutes Beating a Monk), as well as strong religious feelings which emerge in some works.
Graf had learned goldsmithing first from his father, Hugo Graf, then from a goldsmith in Zürich.
He has continued to work as a goldsmith and a few pieces survive.
He initially earned money as a designer of woodcut book illustrations and by assisting a stained glass painter.
In 1512, he bought citizenship in Basel and became a member of the goldsmiths' guild.
He had quickly come into conflict with the law for abusing his wife and consorting with prostitutes, culminating in accusations of attempted murder which had caused him to flee the city in 1518.
He was allowed to return to Basel the following year, where he continued working, with Albrecht Dürer and Hans Wechtlin as important sources of inspiration.
Evolving into an engraver, etcher, designer of woodcuts, and goldsmith, he incorporates a dagger in his monogram signature, a reminder of his life as a soldier.
In 1525, when he is about forty, Graf draws a series of dancing peasants, a theme favored by Dürer and others, but his work largely portrays violent subjects.
Like many Swiss men of his day, Graf is known to have worked as a mercenary for considerable periods.
After 1527 his life becomes unclear.
Given his frequent employment as a soldier of fortune it is possible he was present at the sack of Rome.