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Jacob Burckhardt, for one, judged them severely.
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Photo by kind permission of Professor Kathleen Cohen, San Jose State UniversityĪfter achieving celebrity in the early decades of the nineteenth century, the Nazarenes were already falling into disfavor in Germany by the early 1840s. Royal Museum of Fine Arts, Brussels, Belgium. 2 Louis Gallait, The Abdication of Charles V, 1841. Finally, we need to approach their work aesthetically, through open, unbiased interpretation and judgment of individual works of art.įig. In order to look at them fairly, we have to understand what they hoped to achieve in their art and what directions in the art of their time they sought to oppose. 1 The first question to be addressed in any reconsideration of the Nazarenes is therefore historiographical: How did they fall into almost total oblivion outside their native land? As most judgments of their work by those who do know it are, in addition, ambiguous at best, a further step must be to reconstruct the situation to which the Nazarenes were responding and the political, ethical, and aesthetic choices they faced. Keith Andrew's pioneering monograph in English, The Nazarenes (Oxford: Clarendon Press, 1964), cannot be said to have substantially changed this situation and the book has been allowed to go out of print. Even among art historians, only a few have much familiarity with their work. Widely acclaimed in their own time, the Nazarene artists of early nineteenth-century Germany are virtually unknown to the museum-going public in most Western countries today. Historisches Museum/Städelsches Kunstinstitut, Frankfurt am Main 1 Franz Pforr, Entry of King Rudolf of Habsburg into Basel, 1273, 1810. Unwilling Moderns: The Nazarene Painters of the Nineteenth Centuryįig. Please note: selected figures are viewable by clicking on the figure numbers