The epithet Nazarene was adopted by a group of early 19th-century German Romantic painters who aimed to revive spirituality in art. The name Nazarene came from a term of derision used against them for their affectation of a biblical manner of clothing and hair style.
The principal motivation of the Nazarenes was a reaction against Neoclassicism and the routine art education of the academy system. They hoped to return to art that embodied spiritual values, and sought inspiration in artists of the Late Middle Ages and early Renaissance, rejecting what they saw as the superficial virtuosity of later art.
In Rome, the group lived a semi-monastic existence as a way of re-creating the nature of the medieval artist's workshop. Religious subjects dominated their output, and two major commissions allowed them to attempt a revival of the medieval art of fresco painting. The first was a fresco series completed in Rome for the Casa Bartholdy (1816–17; moved to the Alte Nationalgalerie in Berlin), a collaborative project by the Nazarenes that "marks the beginnng of the revival of fresco decoration for private and public buildings".[1] This, and a second commission to decorate the Casino Massimo (1817–1829), gained international attention for the work of the "Nazarenes". However, by 1830 all except Overbeck had returned to Germany and the group had disbanded. Many Nazarenes became influential teachers in German art academies.
Legacyedit
The programme of the Nazarenes—the adoption of what they called honest expression in art and the inspiration of artists before Raphael—was to exert considerable influence in Germany upon the Beuron Art School,[2] and in England upon the Pre-Raphaelite movement.[3] They were also direct influences on the British artists William Dyce and Frederick Leighton and Ford Madox Brown.[4]
Mitchell Benjamin Frank. Romantic Painting Redefined: Nazarene Tradition and the Narratives of Romanticism. Ashgate Publishing, 2001; ISBN0-7546-0477-2
Cordula Grewe. Painting the Sacred in the Age of German Romanticism. Aldershot: Ashgate Books, 2009.
Lionel Gossman. Making of a Romantic Icon: The Religious Context of Friedrich Overbeck's 'Italia und Germania'. American Philosophical Society, 2007. ISBN0-87169-975-3. [1]
Lionel Gossman. "Unwilling Moderns: The Nazarene Painters of the Nineteenth Century" in Nineteenth-Century Art Worldwide – Volume 2, Issue 3, Autumn 2003.
Referencesedit
^Nationalgalerie (Berlin), and Françoise Forster-Hahn. 2001. Spirit of an Age: Nineteenth-Century Paintings From the Nationalgalerie, Berlin. London: National Gallery Company. p. 26. ISBN1857099605
^Novak, Rev. Fr. Kenneth (November 2003). "The Art of Bueron". The Angelus Online. Retrieved 2023-03-19.
^Henri Dorra, Symbolist Art Theories: A Critical Anthology (Berkeley, University of California Press, 1995) p.17
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Nazarenes in the "History of Art"
February 16, 2024
nazarene, movement, other, uses, nazarene, nazarene, disambiguation, epithet, nazarene, adopted, group, early, 19th, century, german, romantic, painters, aimed, revive, spirituality, name, nazarene, came, from, term, derision, used, against, them, their, affec. For other uses of Nazarene see Nazarene disambiguation The epithet Nazarene was adopted by a group of early 19th century German Romantic painters who aimed to revive spirituality in art The name Nazarene came from a term of derision used against them for their affectation of a biblical manner of clothing and hair style In Jacob encountering Rachel with her father s herd 1836 Joseph von Fuhrich attempts to recapture the mood of Perugino and Raphael Osterreichische Galerie Belvedere Vienna Contents 1 History 2 Legacy 3 Notable members 4 Other painters associated with the movement 5 See also 6 Further reading 7 References 8 External linksHistory edit nbsp Joseph Anton Koch Detail of the Dante Cycle in the Casino MassimoIn 1809 six students at the Vienna Academy formed an artistic cooperative in Vienna called the Brotherhood of St Luke or Lukasbund following a common name for medieval guilds of painters In 1810 four of them Johann Friedrich Overbeck Franz Pforr Ludwig Vogel and Johann Konrad Hottinger 1788 1827 moved to Rome where they occupied the abandoned monastery of San Isidoro They were joined by Philipp Veit Peter von Cornelius Julius Schnorr von Carolsfeld Friedrich Wilhelm Schadow and a loose grouping of other German speaking artists They met up with Austrian romantic landscape artist Joseph Anton Koch 1768 1839 who became an unofficial tutor to the group In 1827 they were joined by Joseph von Fuhrich 1800 1876 The principal motivation of the Nazarenes was a reaction against Neoclassicism and the routine art education of the academy system They hoped to return to art that embodied spiritual values and sought inspiration in artists of the Late Middle Ages and early Renaissance rejecting what they saw as the superficial virtuosity of later art In Rome the group lived a semi monastic existence as a way of re creating the nature of the medieval artist s workshop Religious subjects dominated their output and two major commissions allowed them to attempt a revival of the medieval art of fresco painting The first was a fresco series completed in Rome for the Casa Bartholdy 1816 17 moved to the Alte Nationalgalerie in Berlin a collaborative project by the Nazarenes that marks the beginnng of the revival of fresco decoration for private and public buildings 1 This and a second commission to decorate the Casino Massimo 1817 1829 gained international attention for the work of the Nazarenes However by 1830 all except Overbeck had returned to Germany and the group had disbanded Many Nazarenes became influential teachers in German art academies Legacy editThe programme of the Nazarenes the adoption of what they called honest expression in art and the inspiration of artists before Raphael was to exert considerable influence in Germany upon the Beuron Art School 2 and in England upon the Pre Raphaelite movement 3 They were also direct influences on the British artists William Dyce and Frederick Leighton and Ford Madox Brown 4 Notable members editPeter von Cornelius Josef Fuhrich Johann Friedrich Overbeck Franz Pforr Friedrich Wilhelm Schadow Julius Schnorr von Carolsfeld Eduard Jakob von Steinle Philipp Veit Johannes Veit Ludwig Vogel Eugene von GuerardOther painters associated with the movement editCarl Joseph Begas Karl von Blaas Ernst Deger Konrad Eberhard Carl Eggers Marie Ellenrieder Gebhard Flatz Matthias Goebbels Josef von Hempel Franz Theobald Horny Franz Ittenbach Gustav Jager Leopold Kupelwieser Friedrich Lange Ferdinand Olivier Friedrich Olivier Johann David Passavant Carl Gottlieb Peschel Johann Anton Ramboux Theodor Rehbenitz Johann Scheffer von Leonhardshoff Ludwig Schnorr von Carolsfeld Johann von Schraudolph Joseph Anton Settegast Johann Michael Wittmer Giuseppe Hyzler and his brother Vincenzo Hyzler 1813 1849 from MaltaSee also editGabriel Wuger German Romanticism Middle Ages in history Pre Raphaelite Brotherhood PurismoFurther reading editMitchell Benjamin Frank Romantic Painting Redefined Nazarene Tradition and the Narratives of Romanticism Ashgate Publishing 2001 ISBN 0 7546 0477 2 Cordula Grewe Painting the Sacred in the Age of German Romanticism Aldershot Ashgate Books 2009 Lionel Gossman Making of a Romantic Icon The Religious Context of Friedrich Overbeck s Italia und Germania American Philosophical Society 2007 ISBN 0 87169 975 3 1 Lionel Gossman Unwilling Moderns The Nazarene Painters of the Nineteenth Century in Nineteenth Century Art Worldwide Volume 2 Issue 3 Autumn 2003 References edit Nationalgalerie Berlin and Francoise Forster Hahn 2001 Spirit of an Age Nineteenth Century Paintings From the Nationalgalerie Berlin London National Gallery Company p 26 ISBN 1857099605 Novak Rev Fr Kenneth November 2003 The Art of Bueron The Angelus Online Retrieved 2023 03 19 Henri Dorra Symbolist Art Theories A Critical Anthology Berkeley University of California Press 1995 p 17 Neil MacMillan Victorian Romantics Vancouver MacMillan amp Perrin 1979 p 1External links edit nbsp 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