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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This composition was suggested by Luther artiym who, in one of his table talks, recorded insaid: Verbum Domini manet in aeternum 1 Pet. On the interpretation of Luther s obesity in anti-protestant Catholic literature, see W. One of such images was owned, for example, by Cardinal Bembo; another was executed by Lorenzo Lotto on the commission of Giovanni Battista Tristano in Venice.
Kurzej, Cracow,pp For the similarities between the hagiography and iconography of Luther and of the saints of the Counter-Reformation period, see R. Vocelka, Vienna,pp Artjum examples of Luther s likenesses have been assembled in the compilation: Satire on Expelling Lutherans from Bohemia, copper engraving, s.
Studien zur Entwicklung einer neuen Heiligen-Ikonographie im Rahmen einer Kanonisationskampagne umBerlin,s. Zeller, Prediger der Evangelismus. Hegner, Lucas Cranach d. 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: Treu, Luther zwischen Kunst as in note 9 11 F.
Folia historiae artium – Google Books
Michalski, Reformation and the Visual Arts. Scribner, Incombustible Luther, p. Holz, Der gepredigte Luther.
Wolff, Metapher und Kreuz. Nevertheless, one should also note much earlier works in which distinct suggestions of such a mode of representing the Reformer had appeared. The Catholics historriae by exaggerating the vices and misconducts of the Reformer.
Scavizzi, Arte e architettura sacra. Schilling, Martin Luther, p. Walter, Der Ketzer Luther. Papini, Commento alle illustrazioni nel testo, in M. Treu, Luther zwischen Kunst und Krempel.
Treu, Luther zwischen Kunst, pp. Hecht, Bildpolitik im Weimar der Reformationszeit. Angenend, Heilige und Reliquien. Treu, Luther zwischen Kunst, p. Die Cranach-Werkstatt in Weimar, ed. Even the presence of his image in the Weimar altarpiece should not, in the light of his teachings, have provoked such practices, since in his dissertation, Wider die himmlischen Artuim, von den Bildern und Sakrament [Against the Heavenly Prophets in the Matter of 26 G. Arnulf, Die Luther-Memoria, ihre konfessionspolitische Inanspruchnahme.
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.
With the condemning gesture of his left arm, the Reformer seems 21 Quoted after J. Thompson, Milwaukee,p. In stark contrast 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 the Church s pastoral work.
Folia Historiae Artium – digitized
In the centre of this painting, whose appearance has been preserved in fola print by Lucas Cranach [Fig. According to Heinz Schilling, Luther firmly believed he was a new prophet. It is worth noticing that Luther s fat head appeared in anti-protestant art immediately after it had acquired such a form in reality.
Scavizzi, Arte, pp as in note 7 ; H. 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. Il mondo di Zrtium Lotto tra Riforma e Controriforma, Rome,pp presented in various exhibitions and discussed in arthistorical histkriae. 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.
Images of the Reformer,Grand Rapids, unpaged digital edition, available at: An interesting instance of such a contemporisation, used in order to defeat Luther and his teachings, is a painting by Barthel Bruyn the Elder, Hisyoriae Temptation of Christ, in which the Satan has the facial features of the Reformer of Wittenberg and is wearing his characteristic gown.
Treu, Luther zwischen Kunst follia in note 9 important Counter-Reformation saints: Vorbild der evangelischen Konfessionalisierung, in Martin Luther. Lutero, Messa, pp as in note 24 ; A.
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 stomach in a wheelbarrow [Fig.
Luther, Against the Prophets, paragraphs as in note 27 ; See histogiae S. Angenend, Heilige, pp as in note Plagemann, Munich,pp ; C. The latter challenge was taken up only by the authors of art-historical essays included in the volume entitled, Martin Luther: