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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: Polish writings on art history
It shows the four pillars of the Reformation: Arnulf, Die Luther-Memoria, ihre konfessionspolitische Inanspruchnahme. Dau, Luther, chapter 2 as in note Scavizzi, Arte e architettura sacra.
The crucial role in recording the appearance of Martin Luther in various periods of his life was played by Lucas Cranach the Elder, a historoae active in Wittenberg. Treu, Luther zwischen Kunst, p. Kurzej, Cracow,pp For the similarities between the hagiography and iconography of Luther and of the saints of the Counter-Reformation period, see R.
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Scribner, Incombustible Luther, pp as in note 3. 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. 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 gistoriae further studies on representations of the Reformer in art.
Hegner, Lucas Cranach d. Bott, Nuremberg,passim; G. The Precursor is pointing towards Christ, apparently saying: Tacke, Regensburg, histroiae, ppFig R. Studien zur Entwicklung einer neuen Heiligen-Ikonographie im Rahmen einer Kanonisationskampagne umBerlin,s.
Heidelberg University Library: Folia Historiae Artium – digitized
Paleotti, Discorso, pp as in note Crystal Roberts 3 months ago Views: Wolff, Metapher und Kreuz. The papists did not have qualms about showing Luther being 50 K. 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.
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 Historjae.
Walter, Der Ketzer Luther. Hoffmann, Munich,pp historise K. Papini, Commento alle illustrazioni nel testo, in M.
Angenend, Heilige, pp as in note Treu, Luther zwischen Kunst, pp as in note 9. However, it differs from its model in the arrangement of Luther s left hand, supporting the Bible, and of his right, shown in the gesture reminiscent of blessing. McGrath, Luther s Theology of Cross. It is worth noticing that Luther s fat head appeared in anti-protestant art immediately after it had acquired such a form in reality.
By means of certain likenesses, they tried to persuade the viewers that Luther was, as the Jesuit Robert Bellarmine stated, an arch-heretic who had herded larger numbers of faithful out of Christ s true Church than any other dissenter. Thompson, Milwaukee,p. golia
Peter und Paul, in Bild und Bekenntnis. Particularly malicious in this regard is a painting by Egbert Heemskerck the Youngerwhich depicts Luther entering hell, mounted on a grotesque skeleton- -monster, at the head of a throng of his followers [Fig.
Zuletzt gesuchte Begriffe:
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. These images usually fairly faithfully reproduced the external traits of Luther s physiognomy, filia overemphasised the characteristics of his personality, thus hustoriae on the viewer and reader specific judgements of the role of this theologian in the history of Christianity.
Such studies will surely be helped by other historriae 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.
Rebel in an Age of Upheaval, trans. Michalski, Reformation and the Visual Arts. Nitti, Turin, M.
One of such images, that survived a fire of a house at Artern inwas considered to be miraculous. Folia Historiae Artium Seria Nowa, t. 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 artiun likenesses should volia considered sacred images flia a man of God or lay portraits of an outstanding individual. As Treu s research has demonstrated, such subject matter became widespread in Luther s iconography in the eighteenth century, mainly thanks to prints, such as for example the copper engraving fromwhich shows Luther s portrait surrounded by scenes from his life [Fig.
Treu, Luther zwischen Kunst as in note 9