View source for Social:Rabbits and hares in art

{{Short description|Presence of rabbits and hares in the visual arts}}

[[File:Hans Hoffmann (German - A Hare in the Forest - Google Art Project.jpg|300px|thumb|''A Hare in the Forest'' by Hans Hoffmann (c. 1585)]]
[[File:Johann Georg Seitz Gemüsestilleben mit Häschen.jpg|thumb|''Gemüsestilleben mit Häschen'' ("Still Life with Rabbits") by Johann Georg Seitz (c. 1870)]]

[[Biology:Rabbit|Rabbit]]s and [[Biology:Hare|hare]]s ([[Biology:Leporidae|Leporidae]]) are common motifs in the visual arts, with variable mythological and artistic meanings in different cultures. The rabbit as well as the hare have been associated with moon deities and may signify rebirth or resurrection.{{r|Windling}} They may also be symbols of fertility or sensuality, and they appear in depictions of hunting and spring scenes in the Labours of the Months.

== Judaism ==
[[File:Pederastic gifts Macron Louvre G142 n3.jpg|thumb|left|upright|The rabbit as a gift in courtship, exterior detail of a red-figure [https://en.wiktionary.org/wiki/kylix kylix], (Athens c. 480 BC)]]

In [[Religion:Judaism|Judaism]], the rabbit is considered an unclean animal, because "though it [[Biology:Ruminant|chews the cud]], does not have a [[Biology:Cloven hoof|divided hoof]]."<ref>Leviticus 11:6, cf. Deuteronomy 14:7</ref>{{NoteTag|name=rock hyrax}} This led to derogatory statements in the Christian art of the Middle Ages, and to an ambiguous interpretation of the [[Three hares#In Judaism|rabbit's symbolism]]. The "shafan" in Hebrew has symbolic meaning. Although rabbits were a non-kosher animal in the [[Religion:Bible|Bible]], positive symbolic connotations were sometimes noted, as for lions and eagles. 16th century German scholar Rabbi Yosef Hayim Yerushalmi, saw the rabbits as a symbol of the Diaspora.  In any case, a [[Three hares|three hares]] motif was a prominent part of many [[Engineering:Synagogue|Synagogue]]s.{{r|Windling}}{{r|Wonnenberg}}

== Classical Antiquity ==
In Classical Antiquity, the hare, because it was prized as a hunting quarry, was seen as the epitome of the hunted creature that could survive only by prolific breeding. Herodotus,<ref>Herodotus, ''The Histories'' 3.108</ref> [[Biography:Aristotle|Aristotle]], Pliny and Claudius Aelianus all described the rabbit as one of the most fertile of animals. It thus became a symbol of vitality, sexual desire and fertility. The hare served as an attribute of [[Religion:Aphrodite|Aphrodite]] and as a gift between lovers. In [[History:Late antiquity|late antiquity]] it was used as a symbol of good luck and in connection with ancient burial traditions.

== Christian art ==
[[File:1505 Piero di Cosimo Venus, Mars and Cupid anagoria.JPG|thumb|upright=1.8|''Venus, Mars and Cupid'' by Piero di Cosimo, a Cupid lying on Venus clings to a white rabbit.]]
In Early Christian art, hares appeared on reliefs, epitaphs, icons and oil lamps although their significance is not always clear.

The ''[[Biology:Physiologus|Physiologus]]'', a resource for medieval artists, states that when in danger the rabbit seeks safety by climbing high up rocky cliffs, but when running back down, because of its short front legs, it is quickly caught by its predators.<ref>''Physiologus''. Ed. by Ursula Treu. 3rd edition. Hanau 1998. pp. 103–104 (German).</ref> Likewise, according to the teaching of St. Basil, men should seek his salvation in the rock of Christ, rather than descending to seek worldly things and falling into the hands of the [[Philosophy:Devil|devil]]. The negative view of the rabbit as an unclean animal, which derived from the [[Religion:Old Testament|Old Testament]], always remained present for medieval artists and their patrons. Thus the rabbit can have a negative connotation of unbridled sexuality and lust or a positive meaning as a symbol of the steep path to salvation. Whether a representation of a hare in Medieval art represents man falling to his doom or striving for his eternal salvation is therefore open to interpretation, depending on context.

[[File:Paderborner Dom Dreihasenfenster.jpg|thumb|upright|left|The [[Three hares|three hares]] at Paderborn Cathedral]]

The ''Hasenfenster'' (hare windows) in Paderborn Cathedral and in the Muotathal Monastery in Switzerland, in which [[Three hares|three hares]] are depicted with only three ears between them, forming a triangle, can be seen as a symbol of the [[Religion:Trinity|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|date=April 2021}}

The idea of rabbits as a symbol of vitality, rebirth and resurrection derives from antiquity. This explains their role in connection with Easter, the resurrection of Christ. The unusual presentation in Christian iconography of a Madonna with the Christ Child playing with a white rabbit in Titian's ''Madonna of the Rabbit'' can thus be interpreted Christologically. Together with the basket of bread and wine, a symbol of the sacrificial death of Christ, the picture may be interpreted as the resurrection of Christ after death.

The phenomenon of superfetation, where embryos from different [[Medicine:Menstrual cycle|menstrual cycle]]s are present in the [[Biology:Uterus|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.<ref>Lumpkin, Susan; John Seidensticker (2011). Rabbits: ''The Animal Answer Guide''. JHU Press. {{ISBN|0-8018-9789-0}}. p. 122.</ref> Rabbits also live underground, an echo of the tomb of Christ.
[[File:La Vierge au Lapin à la Loupe.jpg|thumb|left|Titian, ''Madonna of the Rabbit'', Paris, Louvre, c. 1530]]
As a symbol of fertility, white rabbits appear on a wing of the high altar in Freiburg Minster. They are playing at the feet of two pregnant women, Mary and Elizabeth. Martin Schongauer's engraving ''Jesus after the Temptation'' (1470) shows nine (three times three) rabbits at the feet of Jesus Christ, which can be seen as a sign of extreme vitality.  In contrast, the tiny squashed rabbits at the base of the columns in Jan van Eyck's ''Rolin Madonna'' symbolize "Lust", as part of a set of references in the painting to all the Seven Deadly Sins.<ref>Harbison, Craig. ''Jan van Eyck, The Play of Realism'', p. 114, Reaktion Books, London, 1991, {{ISBN|0-948462-18-3}}</ref> 
[[File:Giovanni Bellini St Jerome Reading in the Countryside.jpg|thumb|upright|''St. Jerome Reading in the Countryside'', by Giovanni Bellini, with a white hare, 1505]]
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.<ref>{{cite web |url = http://www.bunniesinbaskets.org/the-symbolism-of-rabbits-and-hares-by-terri-windling.html |title=the-symbolism-of-rabbits-and-hares |website=bunniesinbaskets.org |accessdate= 1 September 2014 }}</ref>

== In secular art ==
[[File:Jan Weenix - Een aap en een hond bij dood wild.jpg|thumb|''Hunting still life with lap dog and monkey'' by Jan Weenix, 1714]]
[[File:Germany Hare flask 03.jpg|thumb|Hare flask by German glassworks, 18th century, National Museum in Warsaw]]

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, [[Astronomy:Venus|Venus]]' children, surrounded by a flock of white rabbits, symbolize love and fertility.

In [[History:Italian Renaissance|Italian Renaissance]] and [[History:Baroque|Baroque]] art, rabbits are depicted more often than hares. In an allegory on lust by Pisanello, a naked woman lies on a couch with a rabbit at her feet. Pinturicchio's scene of ''Susanna in the Bath'' is displayed in the Vatican's Borgia Apartment. Here, each of the two old men are accompanied by a pair of hares or rabbits, clearly indicating wanton lust. In Piero di Cosimo's painting of Venus and [[Religion:Mars (mythology)|Mars]], a cupid resting on Venus clings to a white rabbit for similar reasons.

Still lifes in Dutch Golden Age painting and their Flemish equivalents often included a moralizing element which was understood by their original viewers without assistance: fish and meat can allude to religious dietary precepts, fish indicating fasting while great piles of meat indicate ''[[Religion:Original sin|voluptas carnis]]'' (lusts of the flesh), especially if lovers are also depicted. Rabbits and birds, perhaps in the company of [[Biology:Carrot|carrot]]s and other phallic symbols, were easily understood by contemporary viewers in the same sense.

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.<ref>Talbot, William S., "Jean-Baptiste Oudry: Hare and Leg of Lamb", p. 150, ''The Bulletin of the Cleveland Museum of Art'', Vol. 57, No. 5 (May, 1970), pp. 149-158
, Cleveland Museum of Art, [https://www.jstor.org/stable/25152331 JSTOR]</ref>

From the [[History:Middle Ages|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 [[Religion:Hercules|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 Beatrix Potter, illustrated by herself, include several titles featuring the badly behaved Peter Rabbit and other rabbit characters, including her first and most successful book ''The Tale of Peter Rabbit'' (1902), followed by ''The Tale of Benjamin Bunny'' (1904), and ''The Tale of The Flopsy Bunnies'' (1909).  Potter's anthropomorphic clothed rabbits are probably the most familiar artistic rabbits in the English-speaking world, no doubt influenced by illustrations by John Tenniel of the White Rabbit in [[Biography:Lewis Carroll|Lewis Carroll]]'s book ''Alice's Adventures in Wonderland''.

Joseph Beuys, who always finds a place for a rabbit in his works, sees it as symbolizing resurrection. In the context of his action "How to Explain Pictures to a Dead Hare", he stated that the rabbit "...has a direct relationship to birth... For me, the rabbit is the symbol of incarnation. Because the rabbit shows in reality what man can only show in his thoughts. He buries himself, he buries himself in a depression. He incarnates himself in the earth, and that alone is important."

''Masquerade (book)'' (1979), written and illustrated by the artist Kit Williams, is ostensibly a children's book, but contains elaborate clues to the location of a jewelled golden hare, also made by Williams, which he had buried at the location in England to which the clues in the book led.  The hare was not found until 1982, in what later emerged as dubious circumstances.

The Welsh sculptor Barry Flanagan (1944-2009) was best known for his energetic bronzes of hares, which he produced throughout his career. Many have a comic element, and the length and thinness of the hare's body is often exaggerated.

=== Dürer's ''Young Hare'' ===
{{Anchor|Dürer's hare|reason="Dürer's hare" is the old subsection name, which was changed to "Dürer's ''Young Hare''" on 8 March 2018.}}
[[File:Albrecht Dürer - Hare, 1502 - Google Art Project.jpg|thumb|upright|left|''Young Hare'', by Albrecht Dürer (1502)]]
[[File:Wolpertinger.jpg|thumb|right|''Wolpertinger'' (2005), in the style of Albrecht Dürer]]

Probably one of the most famous depictions of an animal in the history of European art is the painting ''Young Hare'' by Albrecht Dürer, completed in 1502 and now preserved in the Albertina in Vienna. Dürer's watercolor is seen in the context of his other nature studies, such as his almost equally famous ''Meadow'' or his ''Bird Wings''. He chose to paint these in watercolor or gouache, striving for the highest possible precision and "realistic" representation.

The hare pictured by Dürer probably does not have a symbolic meaning, but it does have an exceptional reception history. Reproductions of Dürer's ''Hare'' have often been a permanent component of bourgeois living rooms in Germany. The image has been printed in textbooks; published in countless reproductions; embossed in copper, wood or stone; represented three-dimensionally in plastic or plaster; encased in plexiglas; painted on ostrich eggs; printed on plastic bags; surreally distorted in ''Hasengiraffe'' ("Haregiraffe") by Martin Missfeldt;<ref>{{cite web|url=http://www.martin-missfeldt.de/kunst-bilder/albrecht-duerer/hase-albrecht-duerer.php|title=Hase nach Albrecht Dürer|website=www.martin-missfeldt.de}}</ref> reproduced as a joke by Fluxus artists;{{r|fluxus}} and cast in gold; or sold cheaply in galleries and at art fairs

Since early 2000, Ottmar Hörl has created several works based on Dürer's ''Hare,'' including a giant pink version.<ref name="Hörl’s Pink Hare">{{cite web|last1=Smyth|first1=Debbie|title=Pink Rabbit!|url=https://travelwithintent.com/2015/03/26/pink-rabbit-young-hare-vienna/|website=Travel with Intent|accessdate=8 March 2018|date=26 March 2015}}</ref> Sigmar Polke has also engaged with the hare on paper or textiles, or as part of his installations,<ref>{{cite web|url=http://www.museum-frieder-burda.de/1.328.2.html?&shadow=79&cHash=93690b7a29|title=Illustration, Gouache on patterned fabric}}</ref> and even in rubber band form.<ref name="Poke rubber band">{{cite web|last1=Butler|first1=Sharon|title=More on Prince, Polke, and rubber bands|url=http://www.twocoatsofpaint.com/2012/06/more-on-prince-polke-and-rubber-bands.html|website=Two Coats of Paint|accessdate=8 March 2018|date=5 June 2012}}</ref> Dieter Roth's ''Köttelkarnikel'' ("Turd Bunny") is a copy of Dürer's ''Hare'' made from rabbit droppings,<ref>{{cite web|url=http://leben.freenet.de/pictureshow/reisen/multimedial-kuenstler-roth_799796_533042_779680_6.html|title=Multimedial: Künstler Roth|website=leben.freenet.de}}</ref> 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 ===
[[Biography:William Hogarth|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)''.<ref>''The curious case of Mary Toft''. University of Glasgow Library Special Collections Department. (2009). <nowiki>https://www.gla.ac.uk/myglasgow/library/files/special/exhibns/month/aug2009.html</nowiki></ref><ref>Krysmanski, B. (1998). We see a ghost: Hogarth’s satire on methodists and.. ''Art Bulletin'', ''80''(2), 292.</ref> <ref>{{Cite web |title=print; satirical print {{!}} British Museum |url=https://www.britishmuseum.org/collection/object/P_1868-0808-3517 |access-date=2023-11-29 |website=www.britishmuseum.org |language=en}}</ref>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.<ref>Mary Toft of Goldyman, England, and Her Extraordinary Delivery of Seventeen Rabbits in 1726. (1980). ''Pediatrics'', ''66''(4), 539.</ref> 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. <ref>{{Cite web |title=Amelia Biewald |url=https://www.maakemagazine.com/amelia-biewald |access-date=2023-11-29 |website=Maake Magazine |language=en-US}}</ref><ref>{{Cite web |last=Rosalux |date=2022-11-17 |title=ARTIST 2 ARTIST with Amelia Biewald |url=https://www.rosaluxgallery.com/post/artist-2-artist-with-amelia-biewald |access-date=2023-11-29 |website=Rosalux Gallery |language=en}}</ref><ref>{{Cite web |title=The Curious Case Of Mary Toft {{!}} |url=https://www.ameliabiewald.com/portfolio/the-curious-case-of-mary-toft/ |access-date=2023-12-07 |website=www.ameliabiewald.com}}</ref>

== Gallery ==

<gallery widths="170px" heights="170px" perrow="5">
File:Pisanello 018.jpg|Pisanello: ''Vision of St. Eustace'', 1435
File:Edwin Landseer - Scene from A Midsummer Night's Dream. Titania and Bottom - Google Art Project.jpg|Edwin Landseer, ''Scene from A Midsummer Night's Dream. Titania and Bottom'' with white rabbits, 1851
File:Frederick Morgan06.jpg|''Feeding white rabbits'', Frederick Morgan, Paris
File:White rabbit art color.png|The White Rabbit from ''Alice in Wonderland''
File:Trois lievres raisin Kitao.jpg|Rabbits eating grapes

File:Puigaudeau, Ferdinand du - Chinese Schadows, the Rabbit.jpeg|Ferdinand du Puigaudeau, ''Chinese Schadows, the Rabbit''
File:Raeburn, Henry - Boy and Rabbit - 1814, contrast.jpg|''Boy and Rabbit'', by Henry Raeburn 1814
File:Zan Zig performing with rabbit and roses, magician poster, 1899-2.jpg|Zan Zig performing with rabbit and roses, magician poster, 1899
File:White rabbit, standing, by Jan Mankes.jpg|''White rabbit standing'', by Jan Mankes, 1910
File:Cunicularii or The Wise Men of Godliman in Consultation.jpg|Cunicularii or The Wise Men of Godliman in Consultation, [[Biography:William Hogarth|William Hogarth]], 1726
File:Credulity, Superstition, and Fanaticism MET DP835452.jpg|Credulity, Superstition, and Fanaticism, [[Biography:William Hogarth|William Hogarth]], 1762
File:Toft Affair Wallpaper.jpg|The Curious Case of Mary Toft, Wallpaper, Amelia Biewald, 2019
</gallery>
<gallery perrow=7 widths=120px heights=160px caption="Sculptures and objects representing rabbits and hares">
File:Rabbit-shpaed Incense Burner, Japan, 19th century, sentoku with cloisonne top - George Walter Vincent Smith Art Museum - DSC03818.JPG|Rabbit-shaped incense burner, Japan, 19th century
File:Tsuchiya Yasuchika - Tsuba with a Rabbit Viewing the Autumn Moon - Walters 51163.jpg|Japanese tsuba sword fitting with a "Rabbit Viewing the Autumn Moon", bronze, gold and silver, between 1670 and 1744
File:Tuerye - Beijing Rabbit God.jpg|Rabbit Figurine

File:Tureen, 1752-1756, Chelsea Porcelain Manufactory, England, porcelain with enamel - Art Institute of Chicago - DSC09771.JPG|Tureen, 1754, Chelsea Porcelain Manufactory, England
File:Rabbit Pair LACMA M.91.250.217.jpg|Netsuke with rabbit
</gallery>

<gallery perrow=7 widths=120px heights=160px caption="Sculptures representing rabbits and hares">
File:KCityParkRabbit.JPG|The [[Unsolved:Rabbit (zodiac)|Rabbit]] statue is one of the 12 [[Unsolved:Chinese zodiac|Chinese zodiac]] portrayed in the Kowloon Walled City Park in Kowloon City, Hong Kong
File:Alice-in-Wonderland-Central Park.jpg|Jose de Creeft, ''Statue of Alice'' in Central Park, 1959
File:HARE IN O'CONNELL STREET (pun intended).jpg|Bronze hare by Barry Flanagan, in [[Place:Dublin|Dublin]]
File:GoertzHase.jpg|''Der Hase'' by Jürgen Goertz in Nuremberg
</gallery>

<!--
== Japan ==
Mythologische Erwähnung findet der Weiße Hase von Inaba ({{lang|ja|因幡の白兎}}, ''Inaba no Shirousagi''), der im [[Religion:Kojiki|Kojiki]] von 712 und dem [[Religion:Fudoki|Fudoki]] von Inaba erwähnt wird.

Der Hase symbolisiert das vierte Tierkreiszeichen im Junishi, dem chinesisch-japanischen Horoskop. Beim Netsuke werden Hasen daher gerne als Motiv verwendet.<ref>{{cite web|url=http://kunstlexikon.faz.net/page.php?param1=6320|title=Neuigkeiten vom Kunstmarkt - FAZ|first=Frankfurter Allgemeine Zeitung|last=GmbH|website=kunstlexikon.faz.net}}</ref>
-->

== See also ==
* ''How to Explain Pictures to a Dead Hare''
* List of fictional hares and rabbits
* Moon gazing hare
* [[Unsolved:Moon rabbit|Moon rabbit]]
* [[Biology:Rabbit#In culture and literature|Rabbits in culture and literature]]

== Notes ==
{{NoteFoot
| notes =
{{NoteTag
| name = rock hyrax
| In Hebrew, the rock hyrax is called שפן סלע (''shafan sela''), meaning ''rock "shafan"'', where the meaning of ''shafan'' is obscure, but is colloquially used as a synonym for [[Biology:Rabbit|rabbit]] in modern Hebrew.<ref>{{cite book
  | last = Slifkin
  | first = Nosson
  | date = 1 March 2004
  | title = Shafan&nbsp;– The Hyrax
  | work = The camel, the hare & the hyrax: a study of the laws of animals with one kosher sign in light of modern zoology
  | publisher = Zoo Torah in association with Targum/Feldheim Distributed by Feldheim
  | location = Southfield, MI; Nanuet, NY
  | pages = 99–135
  | isbn = 978-1-56871-312-0
  | url = http://www.zootorah.com/hyrax/hyrax.pdf
  | accessdate = 25 April 2012
  }}</ref>
}}
}}

== References ==
{{Reflist
| refs =

<ref name="Windling">
{{cite web
| last = Windling
| first = Terri
| date = 2005
| title = The Symbolism of Rabbits and Hares
| publisher = Endicott Studio
| url = http://www.endicott-studio.com/rdrm/rrRabbits.html
| archiveurl = https://web.archive.org/web/20120503161949/http://www.endicott-studio.com/rdrm/rrRabbits.html
| archivedate = 3 May 2012
| url-status = usurped
}}
</ref>

<ref name="Wonnenberg">
{{cite web
| title = How do the rabbits get into the synagogue? From China via Middle East and Germany to Galizia: On the tracks of the ROTATING RABBITS SYMBOL
| last = Wonnenberg
| first = Felice Naomi
| publisher = googlepages.com
| url = http://felice.naomi.googlepages.com/videosandfilms3
| accessdate = 13 August 2011
| archiveurl = https://web.archive.org/web/20100908004823/http://sites.google.com/site/felicenaomi/videosandfilms
| archivedate = 8 September 2010
| url-status =  live
}}
</ref>

<ref name="fluxus">
{{cite web
| title = Wie erklärt man einem toten Hasen die Kunst (How to explain art to a dead hare) ''Fluxus-Aktion''
| language = German
| url = http://www.kuprog.net/cms/website.php?id=/index/projektarchiv/2007/fluxus.htm
| accessdate = 23 April 2012
}}
</ref>
}}

== Literature ==
* Guy de Tervarent: ''Attributs et symboles dans l'art profane.'' Genève 1997. pp.&nbsp;287–288. {{ISBN|978-2-600-00507-4}}
* ''Lexikon der christlichen Ikonographie''. Established by Engelbert Kirschbaum. Ed. Wolfgang Braunfels. Herder Verlag, Freiburg im Breisgau 1968–1976. {{ISBN|978-3-451-22568-0}}

== External links ==
* {{cite web | url = http://www.endicott-studio.com/rdrm/rrRabbits.html | title = The Symbolism of Rabbits and Hares | first = Terri | last = Windling |  publisher = Endicott Studio | date = 2005 | archiveurl = https://web.archive.org/web/20120503161949/http://www.endicott-studio.com/rdrm/rrRabbits.html | archivedate = 3 May 2012 | url-status = usurped }}
* [http://www.onlinekunst.de/ostern/hase/index.html Online-Kunst.de on hares in the arts] {{in lang|de}}
* [http://kunstlexikon.faz.net/page.php?param1=3865 Article "Hase"] in: ''Kunstlexikon'' by P. W. Hartmann {{in lang|de}}
* [http://www.kuprog.net/cms/website.php?id=/index/projektarchiv/2007/fluxus.htm ''{{Lang|de|Wie erklärt man einem toten Hasen die Kunst}}''] (''How to explain art to a dead hare'') ''Fluxus-Aktion'' {{in lang|de}}

[[Category:Folklore]]

{{Sourceattribution|Rabbits and hares in art}}