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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 Reception of the Nazarene Movement in France

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Isabelle Saint Martin

Saint Martin, Isabelle: The Reception of the Nazarene Movement in France
The purpose of this overview is to examine the reception of the Nazarene movement in France by first recalling how art criticism interpreted the works and theories of Nazarene painters.  Then by addressing the question of the existence of a French Nazarene movement, which is currently being debated in modern historiography.  And finally by looking at how Nazarene compositions, engravings in particular, had a direct influence on the production of religious paintings, stained glass and other illustrated works of devotion throughout the 19th century. If Nazarene art had little direct impact on major religious paintings in France, and if its reception was controversial with art critics, Nazarene theories nevertheless made a lasting contribution in defining an ideal model of Christian art, whose criteria were posited by Montalembert and Rio. Their influence was to be felt in debates and controversies on the subject of religious art throughout the century.


Christian art, France, 19th Century, Art theory, Nazarene movement

Bibliografická informácia

Isabelle Saint Martin : The Reception of the Nazarene Movement in France. In Forum Historiae, 2017, roč. 11, č. 2. ISSN 1337-6861.


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Isabelle Saint-Martin is Professor of Art History at the Ecole Pratique des Hautes Etudes (EPHE). She recently published Art chrétien/art sacré. Regards du catholicisme sur l'art (France, XIXe-XXe siècle), Presses universitaires de Rennes, 2014 and edited, with Paul-Louis Rinuy, Sainte Face, visage de Dieu, visage de l'homme dans l'art contemporain (XIXe-XXIe siècle), Presses universitaires de Paris-Ouest, 2015.


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