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Jörg Breu the Elder : art, culture, and belief in Reformation Augsburg / Andrew Morrall.

By: Material type: TextTextSeries: Histories of visionPublisher: Aldershot, Hants., England ; Burlington, VT, USA : Ashgate, [2001]Copyright date: ©2001Description: xvi, 281 pages : illustrations (some colour) ; 25 cmContent type:
  • text
Media type:
  • unmediated
Carrier type:
  • volume
ISBN:
  • 1840146087
  • 9781840146080
Subject(s): DDC classification:
  • 759.3 22
LOC classification:
  • N6886.A9 M67 2001
Contents:
List of illustrations -- Acknowledgements -- Introduction: The artist's smile -- 1. The artist and his workshop, c.1498-c.1517 -- Beginnings: the Austrian altarpieces -- Economic background -- Works in fresco -- Panel painting: style and patronage -- The artist as designer -- Woodcuts -- Designs for sculpture -- Designs for glass -- The drawings for the Months of the Year -- Painters, glaziers and glass-painters -- 2. The turn towards Italy -- Augsburg and the South -- The Aufhausen Madonna -- The Prayerbook of Maximilian I -- Image and verse -- The frescoes for the Augsburg Town Hall -- The organ shutters of the Fugger Chapel in St Anna, Augsburg -- The large wings -- The trip to Italy -- The small organ shutters -- Style and dating -- 3. Breu and the Reformation -- The course of the Reformation in Augsburg -- The Reformation and the arts -- The Chronicle -- Breu's Protestantism: a case study in Reformation piety -- Painting and the Reformation -- Woodcut illustrations -- The soldier as unrepentant thief -- Garlic, the Jews and 'the sleep of ignorance': The Mocking of Christ -- St Thomas as Exemplar of Faith: humanist responses to the Reformation and the origins of the Emblem -- The St Ursula Altarpiece: iconoclasm and the image question -- Breu and Zwinglianism -- The Holy Works of Mercy -- 4. The 'deutsch' and the 'welsch': neoclassicism and its uses -- 5. Conclusion -- Appendix. Hand-list of surviving or recorded designs for glass and glass roundels -- Bibliography -- Index.
Review: "Jorg Breu belonged to the generation of German Renaissance artists that included Durer, Cranach, Grunewald, Altdorfer and, in his own city of Augsburg, Hans Burgkmair the Elder. His art registered the early reception of Italian art in Germany and spanned the dramatic years of the Reformation in Augsburg, when the city was riven with social and religious tensions. Uniquely, for a German artist, Breu left a diary chronicling his reaction to the massive social and cultural forces that engulfed him, including his own conversion to the Protestant cause. His story is representative of the condition of many artists during the Reformation years living through this watershed between two cultural eras and the enforced transfer of creative energies from religious painting to secular and applied forms of art. In this wide-ranging and original study, Andrew Morrall examines the effect of these events on the nature and practice of Jorg Breu's art and its reception, not just in his own period, but right up to the present day."--BOOK JACKET.
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Holdings
Item type Current library Call number Copy number Status Date due Barcode
Book City Campus City Campus Main Collection 759.3 BRE (Browse shelf(Opens below)) 1 Available A288182B

Includes bibliographical references (pages 259-274) and index.

List of illustrations -- Acknowledgements -- Introduction: The artist's smile -- 1. The artist and his workshop, c.1498-c.1517 -- Beginnings: the Austrian altarpieces -- Economic background -- Works in fresco -- Panel painting: style and patronage -- The artist as designer -- Woodcuts -- Designs for sculpture -- Designs for glass -- The drawings for the Months of the Year -- Painters, glaziers and glass-painters -- 2. The turn towards Italy -- Augsburg and the South -- The Aufhausen Madonna -- The Prayerbook of Maximilian I -- Image and verse -- The frescoes for the Augsburg Town Hall -- The organ shutters of the Fugger Chapel in St Anna, Augsburg -- The large wings -- The trip to Italy -- The small organ shutters -- Style and dating -- 3. Breu and the Reformation -- The course of the Reformation in Augsburg -- The Reformation and the arts -- The Chronicle -- Breu's Protestantism: a case study in Reformation piety -- Painting and the Reformation -- Woodcut illustrations -- The soldier as unrepentant thief -- Garlic, the Jews and 'the sleep of ignorance': The Mocking of Christ -- St Thomas as Exemplar of Faith: humanist responses to the Reformation and the origins of the Emblem -- The St Ursula Altarpiece: iconoclasm and the image question -- Breu and Zwinglianism -- The Holy Works of Mercy -- 4. The 'deutsch' and the 'welsch': neoclassicism and its uses -- 5. Conclusion -- Appendix. Hand-list of surviving or recorded designs for glass and glass roundels -- Bibliography -- Index.

"Jorg Breu belonged to the generation of German Renaissance artists that included Durer, Cranach, Grunewald, Altdorfer and, in his own city of Augsburg, Hans Burgkmair the Elder. His art registered the early reception of Italian art in Germany and spanned the dramatic years of the Reformation in Augsburg, when the city was riven with social and religious tensions. Uniquely, for a German artist, Breu left a diary chronicling his reaction to the massive social and cultural forces that engulfed him, including his own conversion to the Protestant cause. His story is representative of the condition of many artists during the Reformation years living through this watershed between two cultural eras and the enforced transfer of creative energies from religious painting to secular and applied forms of art. In this wide-ranging and original study, Andrew Morrall examines the effect of these events on the nature and practice of Jorg Breu's art and its reception, not just in his own period, but right up to the present day."--BOOK JACKET.

Machine converted from AACR2 source record.

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