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By Bonnie Noble
This e-book offers Cranach's Reformation portray to a broader viewers and explains the pictorial concepts Cranach devised to explain and interpret Lutheran idea. For experts in Reformation historical past, this learn bargains an interpretation of Cranach's artwork as an agent of spiritual switch. For historians and scholars of Renaissance paintings, this research explores the defining paintings of a massive sixteenth-century artist.
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Additional info for Lucas Cranach the Elder: Art and Devotion of the German Reformation
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36. D. , Universität Jena, 1958). ” 37. Günter Schade and Klaus-Peter Arnold, Kunst der Reformationszeit Staatliche Museen zu Berlin, Hauptstadt der DDR: Ausstellung im Alten Museum vom 26. August bis 13. November 1983 (Berlin [West]: Elefanten Press, 1983), esp. 13–23. 38. Fritz Bellmann, Marie-Louise Harksen, and Roland Werner, Die Denkmale der Lutherstadt Wittenberg (Weimar: Hermann Böhlau, 1979). , Übersicht über Bestände des Thüringischer Landesarchivs Weimar, Veröfentlichungen des Thüringischen Landesarchivs Weimar, vol.
No matter how dynamic the relationship between these concepts was in Luther’s mind, their presentation in the picture suggests that they exist in opposition to one another. 67 The binary composition itself reduces Luther’s more nuanced ideas into a brittle, possibly misleading, contrast. Even though the Brazen Serpent, when it appears on the gospel side in the later versions of the picture, mitigates the contrast, the emphasis on death versus life and hell versus heaven threatens to overpower it.
Cameron, European Reformation, 305–8. 52. The most famous (though surely not the most scholarly) psychological discussion of Luther is Erik Erikson, Psychohistory and Religion: The Case of Young Man Luther (Philadelphia: Fortress Press, 1977). 53. On Luther’s rejection of art patronage as a good work, see Andersson, “Religiöse Bilder,” 43. Cf. Koepplin and Falk, 2:507–9; Tappolet, Marienlob, 150. 54. Cranach’s presence in Wittenberg is first recorded in the spring of 1505. See Lücke and Lücke, “Cranach in Wittenberg,” 59, which records the artist’s first payment.