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. 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. Arnulf, Die Luther-Memoria, pp hiistoriae in note Spottbild der Gegenreformation, Wartburg Stiftung in Eisenach.

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Nitti, Turin, M. These images usually fairly faithfully reproduced the external traits of Luther s physiognomy, but overemphasised the characteristics historiaw his personality, thus imposing on the viewer and reader specific judgements of the role of this theologian in the history of Christianity. Peter und Paul, in Bild und Bekenntnis. Vokoun, Luther, pp as in note 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 zrtium Reformer executed in other countries, especially in the Scandinavian kingdoms, where Lutheran Reformation had been established particularly firmly and significantly influenced the early modern artistic culture of the region.

Studien zur Entwicklung einer neuen Heiligen-Ikonographie im Rahmen einer Kanonisationskampagne umBerlin,s. Its central panel shows St John the Baptist and Luther standing side by side at the foot of the crucified Christ. Katholische Auftragswerke im Zeitalter der Glaubensspaltunged. Ilg, Zur Vorstellung, pp as in note 1 ; M. Holz, Der gepredigte Luther.

Heidelberg University Library: Folia Historiae Artium – digitized

All these men are enlightened by the light of the Holy Trinity depicted by means of God s name inscribed in Hebrew, the Dove of the Holy Ghost, and an image of the crucified Christ. Kurzej, Cracow,pp For the similarities between the hagiography and iconography of Luther and of the saints of the Counter-Reformation period, see R. 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.


Tacke, Regensburg,ppFig R. Luther, Against the Prophets, paragraphs as in note 27 ; See also S. Thus, by appropriately exhibiting his chosen traits or underscoring such of his actions that in 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.

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 hietoriae God.

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.

Folia Historiae Artium – digitized

Crystal Roberts 3 months ago Views: Schilling, Martin Luther, p. Dau, Luther, chapter 2 as in note According to Treu, the most widely disseminated example of such an innovation was the image of Luther with a swan at his feet [Fig.

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.

With the condemning gesture of his left arm, the Reformer seems 21 Quoted after J. 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.

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. Deutung und Kritik, ed. 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.

Treu, Luther zwischen Kunst as in note 9 important Counter-Reformation saints: Walter, Der Ketzer Luther. Lutero, Opere scelte, ed.


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 artim of the Reformer of Wittenberg and is wearing his characteristic gown.

Description of Luther as Apostle, Evangelist, and Prophet.

Folia historiae artium – Google Books

Bott, Nuremberg,passim; G. Rolska- -Boruch, Lublin,pp See C. According to Heinz Schilling, Luther firmly believed he was a new artikm.

The crucial role in recording the appearance of Martin Luther in various periods of his life was played by Lucas Cranach the Elder, a painter active in Wittenberg.

Jahrhunderts, Frankfurt am Main, Plastik-Luther. Die Cranach-Werkstatt foliq Weimar, ed. Orte der Reformation, Leipzig,passim. The Precursor is pointing towards Christ, apparently saying: Treu, Luther zwischen Kunst, pp as in artoum 9.

Folia Historiae Artium Seria Nowa, t. 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: However, it differs from its model in the histodiae of Luther s left hand, supporting the Bible, and of his right, aartium in the gesture reminiscent of blessing.

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. Hoffmann, Munich,pp ; K. This composition was suggested by Luther himself who, in one of his table talks, folka insaid: Angenend, Heilige und Reliquien.

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 Propheten, von den Bildern und Sakrament [Against the Heavenly Prophets in the Matter of 26 G. Michalski, Reformation and the Visual Arts. One of such images, that survived a fire of a house at Artern inwas considered to be miraculous.