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

To use this website, you must agree to our Privacy Policyincluding cookie policy. 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. Luther, Against the Prophets, paragraphs as in note 27 ; See also S. Schilling, Martin Luther, p. Images of the Reformer,Grand Rapids, unpaged digital edition, available at: I also intend to consider the relevance of Treu s compilation and, if needed, supplement it with additional items.

These images usually fairly faithfully reproduced the external traits of Luther s physiognomy, but overemphasised the characteristics of his personality, thus imposing hstoriae the viewer and reader specific judgements foila the role of this theologian in the history of Christianity. Description of Luther as Apostle, Evangelist, and Prophet. The vision of Luther, a prophet enlightened by the Holy Ghost, who faithfully conveyed Divine teachings to people, had become the foundation of Lutheran orthodoxy which crystallised after numerous theologians and pastors had signed the Formula of Concord in According to Treu, this vision found historjae particularly meaningful expression in a histroiae executed aetium the Nuremberg artist Hans Troschel the Younger on the occasion of the Reformation anniversary in [Fig.

Firpo, Artisti, gioiellieri, eretici.

File:Zbigniew Bocheński.jpg

Johnston, New York,pp S. Treu, Luther zwischen Kunst as in note 9 Treu, Luther zwischen Kunst as in note 9 11 F. Angenend, Heilige, pp as in note Luther spent almost the entire heretic period of his life in Wittenberg, a city located in the Saxon province, whose population barely exceeded two thousand inhabitants. Studien zur Entwicklung einer neuen Heiligen-Ikonographie im Rahmen einer Kanonisationskampagne umBerlin,s. 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.

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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.

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.

Luther and Philip Melanchthonstanding around the Ark of the Covenant on which the book with the Word of God is spread open.

Folia Historiae Artium – – ABE-IPS

Spottbild der Gegenreformation, Wartburg Stiftung in Eisenach. Paleotti, Discorso intorno alle immagini sacre e profane, ed. In the centre of this painting, whose appearance has been preserved in a print by Lucas Cranach [Fig. The saint Hus had made a prophecy about me, when in a letter sent from his prison cell [in Constance] to Bohemia he wrote that he was going to suffer being roasted as a goose the word hus means goose in Czechbut in a hundred years the voice of a swan would be heard, who would explain the will of God.

Arnulf, Die Luther-Memoria, pp as in note Kurzej, Cracow,pp For the similarities between the hagiography and iconography of Luther and of the saints of the Counter-Reformation period, see R. Tacke, Regensburg,ppFig R. Vokoun, Luther, pp as in note It is worth noticing that Luther s fat head appeared in anti-protestant art immediately after it had acquired such a form in reality.

Hegner, Lucas Cranach d. With the condemning gesture of his left arm, the Reformer seems 21 Quoted after J. Treu, Luther zwischen Kunst und Krempel.

Ilg, Zur Vorstellung, pp as in note 1 ; M. 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. 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.


Nitti, Turin, M. Thus, for example, the author of the print commemorating expulsion of Histoirae from Bohemia after the battle of White Mountain, discussed by Treu, showed Luther carrying his fat stomach in a wheelbarrow [Fig.

Dau, Luther, chapter 2 as in note 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. Thus, Schorn made the Reformer look like Christ, apparently intending to demonstrate, through this almost blasphemous gesture, that Luther had been the true disciple and follower of the Saviour 4, a fact that was particularly telling when his image was being viewed by the pope, whom the Wittenberg theologian and the majority of supporters of aryium Reformation considered to be Antichrist.

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. Haag, Freiburg im Breisgau, The title of the present review paraphrases the formulation by which Martin Luther defined the proper way of addressing the Virgin Mary in the Protestant Church.

Bott, Nuremberg,passim; G.

Treu, Luther zwischen Kunst as in note 9 Images and Sacraments], published inLuther wrote that Christian altarpieces must not be objects of veneration, but being especially eloquent testimonies of faith they should rather instruct the faithful. 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. Nationale Sonderaustelung Luther und die Deutchen. Treu, Luther zwischen Kunst, pp. Scribner, Incombustible Luther, p.

Rolska- -Boruch, Lublin,pp See C. Zeller, Prediger der Evangelismus. Start display at page:. Crystal Roberts 3 months ago Views: Papini, Commento alle illustrazioni nel testo, in M.

According to Treu, the most widely disseminated example of such an innovation was the image of Luther with a swan at his feet [Fig. Arnulf, Die Luther-Memoria, ihre konfessionspolitische Inanspruchnahme.

Thompson, Milwaukee,p.