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The art of the early 19th century and especially the question of its directions after the year 1800 has repeatedly been the subject of attention of art historians in recent decades. The conventional image of the 19th century as a century of varying historicist styles, insisting on academic rules, sentimental and/or heroic religious and historic imagery and bourgeois taste seems to have more to it than just being a prelude to the modernism that emerged. In Central European visual arts, the question of transition from the late 18th century into the modern era is related to the study of a series of long undervalued artists whose names have (now) either almost vanished or were dismissed (in the past). An example of this are Johann Friedrich Overbeck (1789 – 1869) and his followers – Nazarenes – also known as monk-artists. This issue of Forum Historiae, first entirely in English, is devoted to studies which examine European Nazarenism and role of Joseph Führich (1800 – 1876) in it, from various points of views and perspectives, taking into account the autonomous reception of Nazarenism in different countries, but also the unifying role of the model images produced by key Nazarene artists.

Forum Historiae 2/2017: Local Roots – European Connections. The Position of Nazarene Art in 19th-Century Europe
Zostavovatelia: Pavla Machalíková – Angelika Herucová
jazyková úprava: Robin Cassling
obrázok na titulnej strane: Friedrich Overbeck: Adoration of the Kings (1813, detail). Source: commons.wikimedia.org
Grafická úprava: Juraj Benko
Autori: Katarína Beňová, Marta Herucová, Adéla Klinerová, Olga Kotková, Katharina Lovecky, Isabelle Saint Martin, Pavel Štěpánek, Petr Tomášek
© HistorickÝ Ústav Slovenskej akadÉmie vied 2017


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The Interest in the Art of the Nazarenes in Slovakia

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Marta Herucová

Herucová, Marta: The Interest in the Art of the Nazarenes in Slovakia.
The study is focused on the unknown artworks of Nazarenes preserved in Slovakia. It follows the ways by which came here the paintings, drawings and graphics by Johann Friedrich Overbeck and artists around him. Those were Johann Evangelist Scheffer von Leonhardshoff, Ludwig Schnorr von Carolsfeld, Carl von Blaas and Ferenc Szoldatics (Kupelwieser's and Führich's student). From Slovakia joined the Nazarenes the sculptor and draftsman Joseph Daniel Böhm from Spišské Vlachy; however his interests were wider. In Slovak collections are to be find graphics from the engravers of Düsseldorf School and from Josef Kovatsch reproducing the Nazarene art. The interest in this art was shown by Sigismund Bubics, Bishop of Košice, mentioned Joseph Daniel Böhm, Alojz Rigele, sculptor from Bratislava as well as Willibald Leo Lütgendorff-Leinburg, German art historian and painter, who had roots in Bratislava.


Nazarenes, Johann Friedrich Overbeck, Slovak art collections, Academies of Art, 19th century

Bibliografická informácia

Marta Herucová : The Interest in the Art of the Nazarenes in Slovakia. In Forum Historiae, 2017, roč. 11, č. 2. ISSN 1337-6861.


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Marta Herucová studied History of Art on the Comenius University in Bratislava and Palacký University in Olomouc. She works on the Institute of Art History of Slovak Academy of Sciences in Bratislava where she researches the 19 th century fine art, contributing mostly to identifications and interpretations of artworks. Several of her works were focused on the sepulchral and sacral art, historical painting, and art with mythological subjects. She authored the chapter The Century of Romanticism in the publication The Art in Slovakia (2009) or the book Spišské oltáre 19. storočia (2015).


2017/02 Local Roots - European Connections. The Position of Nazarene Art...