The modernist aesthetic and, later, Nazi ideology split German Romantic painting into two opposed phases, an early progressive movement, represented by Caspar David Friedrich (1774-1840) and Philipp Otto Runge (1777-1810), and a later reactionary one - epitomized by Friedrich Overbeck (1789-1869) and Peter von Cornelius (1783-1867). In this rich and engaging book, Mitchell Frank explores the continuities between these two phases to reconstruct the historical position that existed in the nineteenth century and to look once again at the Nazarenes - and Overbeck in particular - as a fully integrated part of the Romantic movement. His innovative book is crucial to an understanding of German Romanticism and the legacy of this period in European art.

Sharply focused essays on the most significant aspects of German Romanticism.

Crosses disciplinary boundaries to explore German Romantic writing about visual experience and the interplay of text and image in Romantic epistemology. The work of the groundbreaking writers and artists of German Romanticism -- including the writers Tieck, Brentano, and Eichendorff and the artists Caspar David Friedrich and Philipp Otto Runge -- followed from the philosophical arguments of the German Idealists, who placed emphasis on exploring the subjective space of the imagination. The Romantic perspective was a form of engagement with Idealist discourses, especially Kant's Critique of Pure Reason and Fichte's Science of Knowledge. Through an aggressive, speculative reading of Kant, the Romantics abandoned the binary distinction between the palpable outer world and the ungraspable space of the mind's eye and were therefore compelled to develop new terms for understanding the distinction between "internal" and "external." In this light, Brad Prager urges a reassessment of some of Romanticism's major oppositional tropes, contending that binaries such as "self and other," "symbol and allegory," and "light and dark," should be understood as alternatives to Lessing's distinction between interior and exterior worlds. Prager thus crosses the boundaries between philosophy, literature, and art history to explore German Romantic writing about visual experience, examining the interplay of text and image in the formulation of Romantic epistemology. Brad Prager is Associate Professor of Germanat the University of Missouri, Columbia.

Romanticism is multifaceted, and a wide range of nostalgic, emotional, and exotic concerns were expressed in such styles and movements as the Gothic Revival, Classical Revival, Orientalism, and the Pre-Raphaelite Brotherhood. Some movements were regional and subject-specific, such as the Hudson River School of landscape painting in the United States and the German Nazarene movement, which focused primarily on religious art in Rome. The movements range across Western Europe and include the United States. This dictionary will provide a fuller historical context for Romanticism and enable the reader to identify major trends and explore artists of the period. This second edition of Historical Dictionary of Romantic Art and Architecture contains a chronology, an introduction, and an extensive bibliography. The dictionary section has over 300 cross-referenced entries on major artists of the romantic era as well as entries on related art movements, styles, aesthetic philosophies, and philosophers. This book is an excellent resource for students, researchers, and anyone wanting to know more about Romantic art.

The Academy of Parish Clergy’s 2018 Top Five Reference Books for Parish Ministry Beauty and holiness are both highly significant subjects in the Bible. In this comprehensive study of Christian fine art David Lyle Jeffrey explores the relationship between beauty and holiness as he integrates aesthetic perspectives from the ancient Hebrew Scriptures through Augustine, Aquinas, and Kant down to contemporary philosophers of art. From the walls of the Roman catacombs to the paintings of Marc Chagall, visual art in the West has consistently drawn its most profound and generative inspiration from biblical narrative and imagery. Jeffrey guides readers through this artistic tradition from the second century to the twenty-first, astutely pointing out its relationship not only to the biblical sources but also to related expressions in liturgy and historical theology. Lavishly illustrated throughout with 146 masterworks, reproduced in full color, In the Beauty of Holiness is ideally suited to students of Christian fine art, to devotees of biblical studies, and to general readers wanting to better understand the story of Christian art through the centuries.

A fresh contribution to the ongoing debate between Kunstwissenschaft (scientific study of art) and Kunstgeschichte (art history), this essay collection explores how German-speaking art historians of the late nineteenth and early twentieth century self-consciously generated a field of study. Prominent North American and European scholars provide new insights into how a mixing of diverse methodologies took place, in order to gain a more subtle and comprehensive understanding of how art history became institutionalized and legitimized in Germany. One common assumption about early art-historical writing in Germany is that it depended upon a simplistic and narrowly-defined formalism. This book helps to correct this stereotype by demonstrating the complexity of discussion surrounding formalist concerns, and by examining how German-speaking art historians borrowed, incorporated, stole, and made analogies with concepts from the sciences in formulating their methods. In focusing on the work of some of the well-known 'fathers' of the discipline - such as Alois Riegl and Heinrich W?lfflin - as well as on lesser-known figures, the essays in this volume provide illuminating, and sometimes surprising, treatments of art history's prior and understudied interactions with a wide range of scientific orientations, from psychology, sociology, and physiognomics to evolutionism and comparative anatomy.

After a century of Rationalist scepticism and political upheaval, the nineteenth century awakened to a fierce battle between the forces of secularization and the crusaders of a Christian revival. From this battlefield arose an art movement that would become the torchbearer of a new religious art: Nazarenism. From its inception in the Lukasbund of 1809, this art was controversial. It nonetheless succeeded in becoming a lingua franca in religious circles throughout Europe, America, and the world at large. This is the first major study of the evolution, structure, and conceptual complexity of this archetypically nineteenth-century language of belief. The Nazarene quest for a modern religious idiom evolved around a return to pre-modern forms of biblical exegesis and the adaptation of traditional systems of iconography. Reflecting the era's historicist sensibility as much as the general revival of orthodoxy in the various Christian denominations, the Nazarenes responded with great acumen to pressing contemporary concerns. Consequently, the artists did not simply revive Christian iconography, but rather reconceptualized what it could do and say. This creativity and flexibility enabled them to intervene forcefully in key debates of post-revolutionary European society: the function of eroticism in a Christian life, the role of women and the social question, devotional practice and the nature of the Church, childhood education and bible study, and the burning issue of anti-Judaism and modern anti-Semitism. What makes Nazarene art essentially Romantic is the meditation on the conditions of art-making inscribed into their appropriation and reinvention of artistic tradition. Far from being a reactionary move, this self-reflexivity expresses the modernity of Nazarene art. This study explores Nazarenism in a series of detailed excavations of central works in the Nazarene corpus produced between 1808 and the 1860s. The result is a book about the possibility of religious meanin

A new Forum section focuses on the impact of Digital Humanities on Goethe scholarship and on eighteenth-century German Studies, alongside articles on a diverse range of authors and topics.The Goethe Yearbook is a publication of the Goethe Society of North America, showcasing North American and international scholarship on Goethe and other authors and aspects of the Goethezeit. Volume 27 features the yearbook''s first Forum, a discussion of the impact of Digital Humanities (DH) and "computational criticism" on Goethe scholarship and eighteenth-century German Studies more broadly. For this launch, invited contributors were askedto consider the canon in comparison to "the great unread" (Margaret Cohen): the vast expanse of uncanonized texts. The contributions evince approaches that go beyond the established binary of scholarly methods vs. data sciences; they also explore DH as a way of navigating the gendered fault lines of canon formation. Beyond the Forum, there are articles on Goethe''s self-marketing, on several of his major works, and on pivotal topics in them (orientation, der Gang, and transgression); on nascent anthropology, on Creativity Studies, and on other eighteenth-century figures (Rahel Levin Varnhagen, Karl Phillip Moritz). A newly discovered text by August von Kotzebue, sample entries fromthe prodigious work in progress Lexikon of Philosophical Concepts, and the customary book review section round out the volume. Richard B. Apgar, Constanze Baum, Jane K. Brown, Matt Erlin, Renata Fuchs, Matthew Handelman, Katrin Henzel, Stefan Höppner, Julie Koser, James Manalad, Clark Muenzer, Maike Oergel, Andrew Piper, Mattias Pirholt, Michael Saman, Renata Schellenberg, Helmut J. Schneider, Oliver Simons, Leif Weatherby, George S. Williamson, Karin A. Wurst. Patricia Anne Simpson is Professor of German at the University of Nebraska-Lincoln. Birgit Tautz is George Taylor Files Professor of Modern Languages at Bowdoin College. Book review editor Sean Franzel is Associate Professor of German at the University of Missouri-Columbia.al of his major works, and on pivotal topics in them (orientation, der Gang, and transgression); on nascent anthropology, on Creativity Studies, and on other eighteenth-century figures (Rahel Levin Varnhagen, Karl Phillip Moritz). A newly discovered text by August von Kotzebue, sample entries fromthe prodigious work in progress Lexikon of Philosophical Concepts, and the customary book review section round out the volume. Richard B. Apgar, Constanze Baum, Jane K. Brown, Matt Erlin, Renata Fuchs, Matthew Handelman, Katrin Henzel, Stefan Höppner, Julie Koser, James Manalad, Clark Muenzer, Maike Oergel, Andrew Piper, Mattias Pirholt, Michael Saman, Renata Schellenberg, Helmut J. Schneider, Oliver Simons, Leif Weatherby, George S. Williamson, Karin A. Wurst. Patricia Anne Simpson is Professor of German at the University of Nebraska-Lincoln. Birgit Tautz is George Taylor Files Professor of Modern Languages at Bowdoin College. Book review editor Sean Franzel is Associate Professor of German at the University of Missouri-Columbia.issouri-Columbia.al of his major works, and on pivotal topics in them (orientation, der Gang, and transgression); on nascent anthropology, on Creativity Studies, and on other eighteenth-century figures (Rahel Levin Varnhagen, Karl Phillip Moritz). A newly discovered text by August von Kotzebue, sample entries fromthe prodigious work in progress Lexikon of Philosophical Concepts, and the customary book review section round out the volume. Richard B. Apgar, Constanze Baum, Jane K. Brown, Matt Erlin, Renata Fuchs, Matthew Handelman, Katrin Henzel, Stefan Höppner, Julie Koser, James Manalad, Clark Muenzer, Maike Oergel, Andrew Piper, Mattias Pirholt, Michael Saman, Renata Schellenberg, Helmut J. Schneider, Oliver Simons, Leif Weatherby, George S. Williamson, Karin A. Wurst. Patricia Anne Simpson is Professor of German at the University of Nebraska-Lincoln. Birgit Tautz is George Taylor Files Professor of Modern Languages at Bowdoin College. Book review editor Sean Franzel is Associate Professor of German at the University of Missouri-Columbia.al of his major works, and on pivotal topics in them (orientation, der Gang, and transgression); on nascent anthropology, on Creativity Studies, and on other eighteenth-century figures (Rahel Levin Varnhagen, Karl Phillip Moritz). A newly discovered text by August von Kotzebue, sample entries fromthe prodigious work in progress Lexikon of Philosophical Concepts, and the customary book review section round out the volume. Richard B. Apgar, Constanze Baum, Jane K. Brown, Matt Erlin, Renata Fuchs, Matthew Handelman, Katrin Henzel, Stefan Höppner, Julie Koser, James Manalad, Clark Muenzer, Maike Oergel, Andrew Piper, Mattias Pirholt, Michael Saman, Renata Schellenberg, Helmut J. Schneider, Oliver Simons, Leif Weatherby, George S. Williamson, Karin A. Wurst. Patricia Anne Simpson is Professor of German at the University of Nebraska-Lincoln. Birgit Tautz is George Taylor Files Professor of Modern Languages at Bowdoin College. Book review editor Sean Franzel is Associate Professor of German at the University of Missouri-Columbia.issouri-Columbia.issouri-Columbia.al of his major works, and on pivotal topics in them (orientation, der Gang, and transgression); on nascent anthropology, on Creativity Studies, and on other eighteenth-century figures (Rahel Levin Varnhagen, Karl Phillip Moritz). A newly discovered text by August von Kotzebue, sample entries fromthe prodigious work in progress Lexikon of Philosophical Concepts, and the customary book review section round out the volume. Richard B. Apgar, Constanze Baum, Jane K. Brown, Matt Erlin, Renata Fuchs, Matthew Handelman, Katrin Henzel, Stefan Höppner, Julie Koser, James Manalad, Clark Muenzer, Maike Oergel, Andrew Piper, Mattias Pirholt, Michael Saman, Renata Schellenberg, Helmut J. Schneider, Oliver Simons, Leif Weatherby, George S. Williamson, Karin A. Wurst. Patricia Anne Simpson is Professor of German at the University of Nebraska-Lincoln. Birgit Tautz is George Taylor Files Professor of Modern Languages at Bowdoin College. Book review editor Sean Franzel is Associate Professor of German at the University of Missouri-Columbia.issouri-Columbia.e University of Missouri-Columbia.issouri-Columbia.

During the nineteenth century, Albrecht Dürer’s art, piety, and personal character were held up as models to inspire contemporary artists and—it was hoped—to return Germany to international artistic eminence. In this book, Jeffrey Chipps Smith explores Dürer’s complex posthumous reception during the great century of museum building in Europe, with a particular focus on the artist’s role as a creative and moral exemplar for German artists and museum visitors. In an era when museums were emerging as symbols of civic, regional, and national identity, dozens of new national, princely, and civic museums began to feature portraits of Dürer in their elaborate decorative programs embellishing the facades, grand staircases, galleries, and ceremonial spaces. Most of these arose in Germany and Austria, though examples can be seen as far away as St. Petersburg, Stockholm, London, and New York City. Probing the cultural, political, and educational aspirations and rivalries of these museums and their patrons, Smith traces how Dürer was painted, sculpted, and prominently placed to accommodate the era’s diverse needs and aspirations. He investigates what these portraits can tell us about the rise of a distinct canon of famous Renaissance and Baroque artists—addressing the question of why Dürer was so often paired with Raphael, who was considered to embody the greatness of Italian art—and why, with the rise of German nationalism, Hans Holbein the Younger often replaced Raphael as Dürer’s partner. Accessibly written and comprehensive in scope, this book sheds new light on museum building in the nineteenth century and the rise of art history as a discipline. It will appeal to specialists in nineteenth-century and early modern art, the history of museums and collecting, and art historiography.

This book depicts the long rich life and wide ranging work of Count Athanasius Raczyński (1788–1874). By exploring his complex personality, his processes of thought and his accomplishments, it reveals a man at once a wealthy aristocrat, a Pole in the Prussian diplomatic service, an active participant in and perceptive observer and critical commentator on political life, a connoisseur and art collector of European renown, and the author of ground breaking studies on German and Portuguese art – in short a distinguished and fascinating nineteenth century figure.