DOI Artikel:
Krasny, Piotr: Lutherus honorandus, non adorandus?: reflexions on the development of Martin Luther's iconography after reading the book: Martin Luther, Monument, Ketzer, Mensch
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.38234#0139
138
14. Egbert Heemskerck the Younger, Martin Luther in Hell, oil on canvas, с. 1700, Musée international de la Réforme in Geneva.
Photo: Nationale Sonderaustelung ‘Luther und die Deutchen. Wartburg Stuftung in Eisenach, Pressmitteilung, 25.04.2017
structure of the classification of Luthers iconography pro-
posed 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. Such studies will surely be helped by
other articles contained in the book under discussion, fea-
turing analyses of Lutherbilder produced by theologians,
preachers, historians or filmmakers, which, in turn, must
have exerted profound influence on painters and sculp-
tors as well as their patrons.
While studying Luthers 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 the Reformer executed in other countries, especially
in the Scandinavian kingdoms, where Lutheran Refor-
mation had been established particularly firmly and sig-
nificantly influenced the early modern artistic culture of
the region.63 Numerous art-historical studies that have ap-
peared in various places on the occasion of the fifth cente-
nary of the Reformation64 will surely provide new material
which will not only augment our knowledge of Luther’s
images developed in Germany, but will also allow to con-
front this image with its other renderings, produced out-
side of the Reformer s fatherland.
63 M. Schwarz Lausten, Reformationen i Danmark, Copenhagen,
гоп, pp. 9-ю, 208-210.
64 See, for example, C. ВАСн-NiELSEn, Fra jubelfest til kulturår
- danske reformationsfejringer gennem 400 år, Aarhus 2015;
M. Schwarz Lausten, Luther og Danmark i 500 år, Copenha-
gen, 2017.
14. Egbert Heemskerck the Younger, Martin Luther in Hell, oil on canvas, с. 1700, Musée international de la Réforme in Geneva.
Photo: Nationale Sonderaustelung ‘Luther und die Deutchen. Wartburg Stuftung in Eisenach, Pressmitteilung, 25.04.2017
structure of the classification of Luthers iconography pro-
posed 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. Such studies will surely be helped by
other articles contained in the book under discussion, fea-
turing analyses of Lutherbilder produced by theologians,
preachers, historians or filmmakers, which, in turn, must
have exerted profound influence on painters and sculp-
tors as well as their patrons.
While studying Luthers 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 the Reformer executed in other countries, especially
in the Scandinavian kingdoms, where Lutheran Refor-
mation had been established particularly firmly and sig-
nificantly influenced the early modern artistic culture of
the region.63 Numerous art-historical studies that have ap-
peared in various places on the occasion of the fifth cente-
nary of the Reformation64 will surely provide new material
which will not only augment our knowledge of Luther’s
images developed in Germany, but will also allow to con-
front this image with its other renderings, produced out-
side of the Reformer s fatherland.
63 M. Schwarz Lausten, Reformationen i Danmark, Copenhagen,
гоп, pp. 9-ю, 208-210.
64 See, for example, C. ВАСн-NiELSEn, Fra jubelfest til kulturår
- danske reformationsfejringer gennem 400 år, Aarhus 2015;
M. Schwarz Lausten, Luther og Danmark i 500 år, Copenha-
gen, 2017.