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Journal: Folia Historiae Artium Publisher: () Polska Akademia Nauk * Oddzial w Krakowie ISSN (P) ISSN (L) There are no additional. Shelfmark: Universitätsbibliothek Heidelberg, ZST C. Title: Folia Historiae Artium, T. 9 (). Contributor: Dobrowolski, Tadeusz ( ), Polska Akademia Nauk. Oddział w Krakowie. Komisja Teorii i Historii.

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Die Cranach-Werkstatt in Weimar, ed. The title of Treu s article suggests that Luther s historical iconography is a bit jumbled, which may result from the fact that it is not easy to decide whether Luther s celebratory likenesses should be considered sacred images of a man of God or lay portraits of an outstanding individual.

Luther s raised right directs the viewer towards the depiction of the Lord s Supper celebrated in the proper, apostolic way, which was restored thanks to him.

Treu, Luther zwischen Kunst as in note 9 The confrontation of Paul III with Luther s portrait was most likely Schorn s own licentia historica, but attempts at bringing the Reformer to life by means of his like nesses were fairly frequent in various European countries in the sixteenth century.

Nevertheless, one should also note much earlier works in which distinct suggestions of such a mode of representing the Reformer had appeared.

Zuletzt gesuchte Begriffe:

The main reason for this upside-down triumph is indicated by a daemon hovering in the air with a book of Luther s heretic teachings. Schilling, Martin Luther, p. Scavizzi, Arte e architettura sacra. Hitsoriae, Regensburg,ppFig R. Thus, for example, the author of the print commemorating expulsion of Lutherans from Bohemia after the battle of White Mountain, discussed by Treu, showed Luther carrying his fat srtium in a wheelbarrow [Fig.

Angenend, Heilige histkriae Reliquien. Yet, Luther has been distinctly set apart from the group, as only he responds to God s enlightenment with a clear gesture, in that he is pointing with his right to the inscription in the book reading: Peter und Paul, in Bild und Bekenntnis. Hecht, Bildpolitik im Weimar der Reformationszeit.

Johnston, New York,pp S.

: Polish writings on art history

However, it differs historia its model in the arrangement of Luther s left hand, supporting the Bible, and of his right, shown in the gesture reminiscent of blessing. Such a designation had appeared in the circles of theologians associated with the Marburg s Herrgotts Kanzelei, who, at the turn of the s tried to substantiate the conviction that Luther s theological works were the only valid formula of interpreting the Gospels, and one that should be upheld by all supporters of the Reformation.


Wartburg Stuftung in Eisenach, Pressmitteilung, structure of the classification of Luther s iconography proposed by Treu will serve as an excellent tool for ordering the apparently jumbled material and at the same time will inspire to undertake further studies on representations of the Reformer in art. As early as Hans Baldung Grien or executed a woodcut in which the Wittenberg theologian is shown with the Dove of the Holy Ghost hovering over his head and filling him with artiim that seems to form a halo around his head [Fig.

Paleotti, Discorso intorno alle immagini sacre e profane, ed. Zeller, Prediger der Evangelismus. Relatively less attention has been devoted to Cranach s official portraits of Luther, which had played a much more important role in shaping his iconography. Jahrhunderts, Frankfurt am Main, Plastik-Luther. McGrath, Luther s Theology of Cross.

Ilg, Zur Histogiae, pp as in note 1 ; M. On the interpretation of Luther s obesity in anti-protestant Catholic literature, see W. Satire on Expelling Lutherans from Bohemia, copper engraving, s. Papini, Commento alle illustrazioni nel testo, in M. Lutero, Opere scelte, 7pp R. Thus, by appropriately exhibiting his chosen traits or underscoring such of his actions that hkstoriae the best way supported the propagandistic line of the new confession, he was soon turned into an elusive mythical figure or the Luther of historians.

Scribner, Incombustible Luther, pp as in note 3.

In stark aryium to the progressing affirmation of Luther s image, undertaken by the evangelicals, was the resulted merely from a more or less conscious appropriation of Catholic models, or whether it may be seen as an attempt at commemorating the Reformer in keeping with the evangelical concepts of saintly life and the importance of saints in foila Church s pastoral work.


Studien zur Entwicklung einer neuen Heiligen-Ikonographie im Rahmen einer Kanonisationskampagne umBerlin,s. Treu, Luther zwischen Kunst as in note 9 considered, then, as a very conspicuous manifestation of the hagiographisation of his iconography.

Folia Historiae Artium – digitized

Nitti, Turin, M. Obviously, it still has to be supplemented with new groups of images and particular iconographic formulas should be illustrated with new examples, a task I have undertaken in the present paper. Arnulf, Die Luther-Memoria, ihre konfessionspolitische Inanspruchnahme. Treu, Luther zwischen Kunst und Krempel.

Holz, Der gepredigte Luther. Crystal Roberts 3 months ago Views: Walter, Der Ketzer Luther. Il mondo di Lorenzo Lotto tra Riforma e Controriforma, Rome,pp presented in various exhibitions and discussed in arthistorical studies. This likeness is an almost identical copy of Luther s well-known portrait painted by Lucas Cranach the Elderwhich shows the Reformer wearing a black gown and a biretta. An interesting instance of such a contemporisation, used in order to defeat Luther and his teachings, is a painting by Barthel Bruyn the Elder, The Temptation of Christ, in which the Satan has the facial features of the Reformer of Wittenberg and is wearing his characteristic gown.

Such studies will surely be helped by other articles contained in the book under discussion, featuring analyses of Lutherbilder produced by theologians, preachers, historians or filmmakers, which, in turn, must have exerted profound influence on painters and sculptors as well as their patrons.

Folia Historiae Artium, T. 9 () – FBC

Hrachovec, Maria honoranda, non adoranda. While studying Luther s iconography, it is worthwhile, I think, to transcend the pictorial material from the lands of the Holy Roman Empire and analyse also the images of the Reformer executed in other countries, especially in the Scandinavian kingdoms, where Lutheran Reformation had been established particularly firmly fllia significantly influenced the early modern artistic culture of the region.

Paleotti, Discorso, pp as in note


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