Rabbits and hares in art

The Hasenfenster (hare windows) in Paderborn Cathedral and in the Muotathal Monastery in Switzerland, in which three hares are depicted with only three ears between them, forming a triangle, can be seen as a symbol of the Trinity, and probably go back to an old symbol for the passage of time. Though they have six ears, the three hares shown in Albrecht Dürer's woodcut, The Holy Family with Three Hares (1497), can also be seen as a symbol of the Trinity.^{[citation needed]}

The idea of rabbits as a symbol of vitality, rebirth and resurrection derives from antiquity. This explains their role in connection with

The phenomenon of superfetation, where embryos from different menstrual cycles are present in the uterus, results in hares and rabbits being able to give birth seemingly without having been impregnated, which caused them to be seen as symbols of virginity.^[6] Rabbits also live underground, an echo of the tomb of Christ.

As a symbol of fertility, white rabbits appear on a wing of the high altar in

Hunting scenes in the sacred context can be understood as the pursuit of good through evil. In the Romanesque sculpture (c. 1135) in the Königslutter imperial Cathedral, a hare pursued by a hunter symbolises the human soul seeking to escape persecution by the devil. Another painting, Hares Catch the Hunters, shows the triumph of good over evil. Alternatively, when an eagle pursues the hare, the eagle can be seen as symbolizing Christ and the hare, uncleanliness and the evil's terror in the face of the light.

In Christian iconography, the hare is an attribute of Saint Martin of Tours and Saint Alberto di Siena, because legend has it that both protected hares from persecution by dogs and hunters. They are also an attribute of the patron saint of Spanish hunters, Olegarius of Barcelona. White hares and rabbits were sometimes the symbols of chastity and purity.^[8]

In secular art

In non-religious art of the modern era, the rabbit appears in the same context as in antiquity: as prey for the hunter, or representing spring or autumn, as well as an attribute of Venus and a symbol of physical love. In cycles of the Labours of the Months, rabbits frequently appear in the spring months. In Francesco del Cossa's painting of April in the Palazzo Schifanoia in Ferrara, Italy, Venus' children, surrounded by a flock of white rabbits, symbolize love and fertility.

In

As small animals with fur, hares and rabbits allowed the artist to showcase his ability in painting this difficult material. Dead hares appear in the works of the earliest painter of still life collections of foodstuffs in a kitchen setting, Frans Snyders, and remain a common feature, very often sprawling hung up by a rear leg, in the works of Jan Fyt, Adriaen van Utrecht and many other specialists in the genre. By the end of the 17th century, the grander subgenre of the hunting trophy still life appeared, now set outdoors, as though at the back door of a palace or hunting lodge. Hares (but rarely rabbits) continued to feature in the works of the Dutch and Flemish originators of the genre, and later French painters like Jean-Baptiste Oudry.^[9]

From the Middle Ages until modern times, the right to hunt was a vigorously defended privilege of the ruling classes. Hunting Still lifes, often in combination with hunting equipment, adorn the rooms of baroque palaces, indicating the rank and prestige of their owners. Jan Weenix' painting shows a still life reminiscent of a trophy case with birds and small game, fine fruits, a pet dog and a pet monkey, arranged in front of a classicising garden sculpture with the figure of Hercules and an opulent palace in the background. The wealth and luxurious lifestyle of the patron or owner is clearly shown.

The children's tales of the English author

Since early 2000, Ottmar Hörl has created several works based on Dürer's Hare, including a giant pink version.^[12] Sigmar Polke has also engaged with the hare on paper or textiles, or as part of his installations,^[13] and even in rubber band form.^[14] Dieter Roth's Köttelkarnikel ("Turd Bunny") is a copy of Dürer's Hare made from rabbit droppings,^[15] and Klaus Staeck enclosed one in a little wooden box, with a cutout hole, so that it could look out and breathe. Dürer's Hare has even inspired a depiction of the mythological Wolpertinger.

Depictions of Mary Toft Birthing Rabbits

William Hogarth depicted Mary Toft giving birth to rabbits in 1726 in the etchings Cunicularii or The Wise Men of Godliman in Consultation (1726) and Credulity, Superstition, and Fanaticism (1762).^[16][17][18] Mary Toft was a woman who convinced many medical professionals and the public at the time that she was birthing rabbits, when it was, in fact, a hoax.^[19] Inspired by the work of William Hogarth, artist Amelia Biewald resurrected the story of Mary Toft into the gallery with The Curious Case of Mary Toft in 2020.^[20][21][22]

Gallery