CC BY
28
с
« ДжефЖ Чиппс смит УДК 7.034(430)
и д. иск. н., профессор,
§ Техасский университет в Остине, факультет искусств
g и искусствоведения (2301 San Jacinto Blvd, Austin, TX 78705, USA)
S
tn Гастролируя с Лютером:
s
ч размышления о нескольких юбилейных выставках
н
Празднование 500-летия начала протестантской Реформации было отмечено большим числом выставок в Германии и во всем мире. Год Лютера (Lutherjahr), на деле, был декадой Лютера, посколько план мероприятий начал составляться в 2008 г. Автор рассматривает в настоящем обзоре наиболее выдающиеся выставки 2015-2017 гг. В том числе «Мартин Лютер: сокровища Реформации», «Ренессанс и Реформация: немецкое искусство в эпоху Дюрера и Кранаха», «Лютер, Колумб и последствия. Мир в эпоху перемен 1500-1600», а также виртуальные выставки, которые дали беспрецедентную оценку Лютеру, Реформации как культурному событию и ее историческим последствиям.
Ключевые слова: Ренессанс, Реформация, Альбрехт Дюрер, искусство, Колумб, Гольбейны, Кранахи, Ханс Балдунг Грин, Тилман Рименшнейдер
o
Jeffrey Chipps smith .
C
a
PhD in art history, professor, C The University of Texas at Austin, Depatment ofArt and Art History C (2301 San Jacinto Blvd, Austin, TX 78705, USA) .
i
On the r oad with L uther : h
«1
Thoughts on a few jubilee exhibitions
The 500th celebration of the advent of the Protestant Reformation inspired a remarkable number of exhibitions in Germany and, indeed, around the world. The Lutherjahr or Luther Year was, more correctly, a Luther decade with different themes and programs having been announced in 2008. The author explores the most remakable exibitions of 2015-2017 including «Martin Luther: Treasures of the Reformation», «Renaissance & Reformation: German Art in the Age of Dürer and Cranach», «Luther, Kolumbus und die Folgen. Welt im Wandel 1500-1600» as well as virtual exibitions that provide an unprecedented assessment of Luther, the cultural moment, and the historical aftermath.
Key words: Renaissance, Reformation, Albrecht Dürer, art, Kolumbus, the Holbeins, the Cranachs, Hans Baldung Grien, Tilman Riemenschneider
§ October 31, 2017, marked the 500th anniversary of Martin
o Luther's posting of his Ninety-Five Theses in Wittenberg. Soon tj afterward, the last of the Lutherjahr exhibitions closed. This celO ebration of the advent of the Protestant Reformation inspired ^ a remarkable number of exhibitions in Germany and, indeed, around o the world. The Lutherjahr or Luther Year was, more correctly, g a Luther decade. In 2008, a coordinating organization, Luther2017, ^ announced different themes and programs for each intervening year1. 2 Scholarly plans to investigate Luther and his legacy merged with ^ other cultural and economic goals. An infusion of government funds ^ permitted Lutherstadt Wittenberg, Lutherstadt Eisleben, Mansfeld ^ Lutherstadt, and Eisenach, towns with connections with the reformer, to restore historic buildings and monuments. A Luther trail (a ilgrimage and hiking route) and travel itineraries were publicized to aid the anticipated influx of visitors and their Euros to Thuringia and Saxony. Germany's official National Special Exhibitions, which began with «Luther und die Fürsten» held at Schloss Hartenfels in Torgau in 2015, concluded this November with a trio of shows jointly advertised at the wittily named website www.3xHammer.de2. These addressed Luther the man and his contemporaries, Luther's historical impact on the German empire and nation, and the spread of Lutheranism worldwide with special attention given to its development in the United States, Korea, and Tanzania.
These and a host of other German exhibitions beginning in 2015 provide an unprecedented assessment of Luther, the cultural moment, and the historical aftermath. In most cases, the Protestant Reformation is presented primarily from a Lutheran perspective. Other evangelical groups, notably the Zwinglians, Calvinists, and Anabaptists, are rarely or only briefly discussed. As an art historian, I appreciate the detailed explorations of the Reformation's impact on art and architecture. Not surprisingly, many of the exhibitions included the same objects, whether it be portraits
1 www.luther2017.de
2 «Luther und die Deutschen» at Schloss Wartburg in Eisenach; «The Luther effect: Protestantism — 500 Years in the world» at the Martin-Gropius-Bau in Berlin, which was organized by the Deutsches Historisches Museum; and «Luther: 95 Treasures — 95 People», at the Augusteum in Wittenberg. The catalogues for the Berlin and Wittenberg exhibitions were published in German and English-language editions.
of Luther and his circle, anti-Catholic polemical prints, or paintings by the Cranachs. I wish to consider a few of these exhibi- 2
t
tions beginning with two shows curated in Germany but intended h for American audiences. r
«Martin Luther: Treasures of the Reformation» (fig. 1) was dis- a played concurrently at the Minneapolis Institute of Art, the Mor- ^ gan Library & Museum in New York, and Pitts Theological Library t at Emory University in Atlanta3. The show in Minneapolis was ^ the largest and most comprehensive of the venues. Historically, T the upper Midwestern states, including Minnesota, were heavily e settled by Lutheran immigrants from Germany and Scandinavia. . The director and staff of the State Museum of Prehistory in Halle (Saale) organized the exhibition in partnership with the Foundation Schloss Friedenstein Gotha, the Luther Memorials Foundation of Saxony-Anhalt, and the Deutsches Historisches Museum in Berlin plus the three American institutions.
The three exhibitions, each varying slightly in theme, share a 503-page joint catalogue. Together they offered a comprehensive assessment of Luther's life and work, the Reformation, its historical context, and its subsequent heritage. In many ways, the catalogue and the accompanying 495-page essay volume provide a more thorough picture of the reformer and his age than any of the exhibitions in Germany. In addition to Luther's letters and writings, anti-Catholic prints and medals, papal bulls, Cranach portraits, and new evangelical art, the show contained a remarkably diverse range of objects. Among the smallest items were Martin Luther's folding traveling spoon, the iron handle from his coffin, and a splinter from the wooden floor by Luther's desk in Wittenberg, which an American teacher had taken as a cultic souvenir early in the twentieth century and only later returned. The Minneapolis venue also included the newly restored, six-meter high pulpit from the St. Andreas Church in Eisleben from which Luther delivered his final sermon on February 15, 1546. Many items, such as Elector Johann Friedrich's boot or the ceramic stove tile adorned with Luther's portrait, chronicle the period's material history more
3 Martin Luther: Treasures of the Reformation. Dresden, 2016; Martin Luther and the Reformation: Essays. Dresden, 2016. The joint website is: http://www.here-i-stand.com/en.
га emphatically than its art. When possible, multiple copies of certain и core books and prints were shown at two or three sites. The catalogue tj includes useful sidebar texts, indicated with an orange background, О providing succinct yet admirably lucid explanations of subjects such as л the Ninety-Five Theses, Sola Fide, the Law and Gospel theme, the Leu-
CQ
о corea (University of Wittenberg), or Luther's house in Wittenberg.
The exhibition «Renaissance & Reformation: German Art ^ in the Age of Dürer and Cranach» (fig. 2), held at the Los Angeles 2 County Museum of Art, was jointly organized by the Staatliche Museen ^ in Berlin, the Staatliche Kunstsammlungen Dresden, and the Bayer-ч ische Staatsgemäldesammlungen in Munich. As the title suggests, ^ the curators framed the Reformation within a more general discussion of the period's artistic trends4. The exhibition included superb works by Albrecht Dürer, the Holbeins, the Cranachs, Hans Bal-dung Grien, Tilman Riemenschneider, and their contemporaries. These were grouped under five broad themes: traditional imagery and devotion, Reformation and polemics, court and culture, humanism and reality, and portraiture and status. Visitors were treated to a diversity of objects from the armor that Duke Augustus of Saxony wore in 1547 at the Battle of Mühlberg to polemical prints to contemporary portraits to several exquisite small-scale sculptures. The Getty Research Institute organized a stimulating international symposium on the exhibition and the art of the Reformation in January 2017.
Amid the celebration of all things Luther and Lutheran, several German exhibitions focused on the critical roles played by specific artists. Lucas Cranach the Elder (1472-1553) and his son, Lucas the Younger (1515-86), deservedly received most of the attention5.
4 I authored the catalogue's main essay: Smith J. Ch. German art in the Sixteenth Century: An introduction // Renaissance & Reformation: German art in the age of Dürer and Cranach. Los Angeles. Munich, 2017. P. 28-57.
5 Cranach in Weimar / Hrsg. von W. Holler, K. Kolb; Schiller-Museum Weimar. Dresden, 2015; Cranach im Gotischen Haus in Wörlitz / Hrsg. von W. Savelsberg. Munich, 2015; Bild und Botschaft: Cranach im Dienst von Hof und Reformation / Stiftung Schloss Friedenstein, Gotha and Museumslandschaft Hessen Kassel. Heidelberg, 2015; Cranach, Luther und die Bildnisse / Hrsg. von G. Schuchardt; Schloss Wartburg, Eisenach. Regensburg, 2015; Lucas Cranach der Jüngere. Entdeckung eines Meisters / Hrsg. von R. Enke, K. Schneider, J. Strehle; Augusteum; Wittenberg. Munich, 2015. Also for the Cranach pilgrim see: Krischke R. Wege zu Cranach: Kulturreiseführer. Halle, 2015.
Indeed, I suspect that every Reformation show during the past
several years highlighted how the Cranachs, in collaboration with 2
t
Martin Luther and Philipp Melanchthon, challenged the institu- h
tion of the Roman Catholic Church as well as its representatives, r
o
beliefs, and practices. They devised many of the new themes, such as Law and Gospel with its combination of biblical texts and images, which came to define Lutheran art. The Cranachs championed the cult of Luther whom they portrayed, quite literally, as the face
L
of the Protestant Reformation. c
H
The Museum für Franken (the Staatliches Museum für Kunst- ®
und Kulturgeschichte) in Würzburg organized an excellent small exhibition entitled «Peter Dell der Ältere — Zwischen Riemenschneider und Reformation» (fig. 3), which runs until January 7, 20186. Dell (c. 1490-1552), a pupil of Tilman Riemenschneider, is best known for the sandstone epitaphs, tombs, and religious sculpture that he made for Catholic patrons in the diocese of Würzburg. Yet especially between 1528 and about 1534, when he worked at the court of Duke Heinrich the Pious of Saxony in Freiberg, Dell carved exquisite wooden reliefs displaying Lutheran and Lutheran-leaning subjects. These include several novel variations on the Law and Gospel theme where explanatory biblical inscriptions are placed within or below the compositions. The aesthetic merits of his reliefs, like his other small-scale wooden portraits and statuettes, were prized by collectors. Since these few works were inherently private in their use, Dell's art never matched the Cranachs' broad impact. Nevertheless, he exemplifies how another contemporary artist responded to the challenges of the Protestant Reformation.
Würzburg coincidentally celebrated the jubilee of one of the city's foremost Catholic rulers in 2017. This was the 400th anniversary of the death of Julius Echter von Mespelbrunn, Prince-Bishop of Würzburg (r. 1573-1617)7. The Martin von Wagner Museum prepared a large exhibition about this dynamic post-Tridentine ruler, who was a vigorous opponent of the Protestant Reformation
6 Peter Dell der Ältere — Zwischen Riemenschneider und Reformation / Hrsg. von C. Lichte; Museum für Franken, Würzburg. Würzburg, 2017.
7 Julius Echter — Patron der Künste. Konturen eines Fürsten und Bischofs der Renaissance / Hrsg. von D. Dombrowski, M. J. Maier, F. Müller; Martin von Wagner Museum, Universität Würzburg. Berlin, 2017.
w (ö
and a major patron of art. The inscription on his tomb in Würzburg Cathedral claims he built, rebuilt, or restored 300 to 400 Catholic churches during his long reign.
Various German cities used the Luther jubilee to stage exhibitions honoring their own religious histories8. Outstanding among these was «Kontroverse & Kompromiss» (2015) at the Angermuseum in Erfurt (fig. 4)9. The imperial free city of Erfurt thrived in the fifteenth and early sixteenth centuries. Luther studied at its university, the oldest in the German-speaking lands, before his conversion and becoming a monk at the local Augustinian Monastery. Erfurt's historical course changed in 1530 when it officially became the first bi-confessional town in Germany10. Augsburg followed suit in 1555. This exhibition and catalogue examine the artistic manifestations, notably the different sorts of epitaphs and other church decorations that Catholics and Protestants commissioned. Several excellent essays explore how the city and its residents made this uneasy religious accommodation work11.
In 1983, the Germanisches Nationalmuseum in Nuremberg celebrated the 500th anniversary of the reformer's birth by mounting a huge exhibition entitled «Martin Luther und die Reformation in Deutschland»12. In many ways, this exemplary show framed
8 For Braunschweig and its region, see: Im Aufbruch. Reformation 1517— 1617 / Hrsg. von H. Pöppelmann, D. Rammler; Braunschweigisches Landesmuseum. Dresden, 2017. Perhaps in anticipation of 2017, the Bischöfliches Dom- und Diözesanmuseum in Mainz prepared an interesting exhibition on pre-Reformation religious life and culture in the middle Rhineland. See: Schrei nach Gerechtigkeit. Leben am Mittelrhein am Vorabend der Reformation / Hrsg. von W. Wilhelmy. Regensburg, 2015.
9 Kontroverse & Kompromiss. Der Pfeilerbilderzykus des Mariendoms und die Kultur der Bikonfessionalität im Erfurt des 16. Jahrhunderts / Hrsg. von E. Leuschner, F. Bornschein, K. Uwe Schierz; Angermuseum Erfurt. Dresden, 2015.
10 The Catholics worshipped in the Cathedral of St. Marien and the churches of St. Severi, and St. Lorenz. The Protestants used the churches of Michaelis, the Preachers (Dominicans), the Merchants, and the Franciscans.
11 Müller R. Gott dem Herrn zu Ehren, dieser Kirchen zur Zierde und zu meinem und der meinigen Gedächtnis // Kontroverse & Kompromiss: Der Pfeilerbilderzyklus des Mariendoms und die Kultur der Bikonfessionalität im Erfurt des 16. Jahrhunderts. Dresden, 2015. S. 189-215; Emich B. Zwei Wahrheiten in einer Stadt? // Kontroverse & Kompromiss. S. 267-281.
12 Martin Luther und die Reformation in Deutschland / Hrsg. von G. Bott; Germanisches Nationalmuseum, Nuremberg. Frankfurt, 1983.
О я
H
с
H ^
и О
л я О
к
л
н
Я «
S
S ч н л
the major issues and discourse about the Reformation and its cultural impact that are still at the heart of the recent exhibitions. 2
t
The show also highlighted Nuremberg pivotal role as the first impe- h rial free city to embrace Lutheranism in 1525. Charged with curating r a new exhibition at this museum for 2017, Thomas Eser and Stepha- a nie Armer framed the topic differently than any of the other past ^ and recent expositions. «Luther, Kolumbus und die Folgen. Welt t im Wandel 1500-1600» (fig. 5) placed the Reformation in the con- ^ text of the long sixteenth century13. Visitors were greeted by por- T traits of Luther, Christopher Columbus, and Nicolaus Copernicus, e three individuals who changed the European worldview. In 1490, . one believed the Roman Catholic Church headed by the pope was the one true church; the world was flat and consisted of just three continents: Europe, Africa, and Asia with Jerusalem at its center; and the sun, moon, and the planets revolved around the earth. A few decades later, however, these certainties were shattered as the Protestant Reformation splintered western Christendom, the earth proved to be round with two new American continents, and the solar system was heliocentric. The unquestioned authority of the Bible and the canonical received wisdom of antiquity were challenged as never before.
The Nuremberg exhibition and its excellent catalogue set the Reformation within its broader historical framework. The first of five sections («Scandal, Error, Hypothese») considered how these three men reshaped the European worldview. Luther's writings, including his sharp disagreement with Erasmus over the subject of man's free will, represented the most Reformation-focused portion of the exhibition. «The Fascination with the New and Its Burden» examined the period as a time of discovery. It emphasized religious iconoclasm, changes in worship practices, and recent encounters with strange new civilizations and bizarre creatures. Cartographers mapped the globe while trying to keep up with information about the newly explored lands. The development of sophisticated scientific instruments promoted new methods for acquiring and testing knowledge. For instance, Andreas Vesalius' dissections and anatomical stud-
13 Luther, Kolumbus und die Folgen. Welt im Wandel 1500-1600 / Hrsg. von Th. Eser, S. Armer; Germanisches Nationalmuseum, Nuremberg. Nuremberg, 2017.
га ies conflicted with and greatly surpassed Galen's medical wisdom. и «The End of Time and Extinction» pondered the question whether tj these changes were signs of the end of the world and the coming Last О Judgment. The Ottoman Turks besieged Vienna in 1529. Reformers л claimed the pope was the anti-Christ and the Catholic clergy were
CQ
о Satan's progeny. Popular prophesies predicted that a second great g flood would engulf the world in the mid-1520s. Others searched ^ for meaning after the appearances of comets, blood rains, and other 2 unusual natural phenomena.
^ «Paradise 2.0» explored the loss of the biblical Garden of Eden.
ч Luther and others debated whether it washed away in Noah's flood ^ or whether humanity's sins so damage the world that earthly paradise is forever lost. The appetite for collecting exotic natural items, such as an armadillo, and exquisite man-made objects, like Wenzel Jamnitzer's life-castings of lizards, prompted the rise of «Kunst-und Wunderkammern». Was having the world in microcosm in one's collection an alternative form of paradise? The final section («It is getting colder») treated the Little Ice Age. In about 15601630 and 1675-1715, Europe experienced sharp climatic changes. A striking painting (cat. no. 162) done in 1565 by Cornelis Jacobsz van Culemborch depicts a massive iceberg that floated into the harbor at Delfshaven near Rotterdam. It smashed docks, splintered nearby houses, including a bordello, and attracted curious onlookers. Weather anomalies and personal misfortunes, such as infertility or death in childbirth, were often blamed on witches and other agents of the devil. The sixteenth century witnessed the explosive rise in witch trials. The exhibition concluded with a short epilogue («Homo bulla est») stressing human folly and the brevity of life.
Finally, two virtual exhibitions marked the Lutherjahr. The Herzog August Bibliothek in Wolfenbuttel developed «Luthermania. Ansichten einer Kultfigure» (www.luthermania.de). The online catalogue addresses four themes: Luther as Saint, Luther as Devil, Luther as Brand, and Luther and the Germans. Each section includes a short introductory text plus brief entries on the illustrated objects. Far more ambitious is «Martin Luther und die Reformation in Bayern — Virtuelle Ausstellung» (www.bavarikon.de/ luther). Under the direction of the Bayerische Staatsbibliothek
in Munich, this exhibition focuses on the Reformation's impact on nine important historical figures and twelve Bavarian towns14. 2 Although the show concentrates on the years 1517 to 1530, a few и objects date later in the century. The website includes complete digi- r tal facsimiles of some of the letters and books of Caritas Pirckheimer, a Johannes Eck, Andreas Osiander, and Luther, among others. Hans ^ Sachs is represented by his Die wittembergisch Nachtigall (Bamberg, ¡-j 1523). Brief historical discussions plus supporting digitized docu- ^ mentation recount how these towns responded to the growing con- t fessional conflict. Staunchly Catholic Munich's entry includes several e religious mandates by the Bavarian dukes, such as one issued against . the Anabaptists in 1527. Some sites are more interactive. Viewers can take a 360-degree tour Luther's room in Veste Coburg. Another tab permits easy access to the 120 objects included in the exhibition.
The European and American exhibitions about Martin Luther and his age attracted millions of visitors in 2015, 2016, and 2017. I cannot think of another early modern historical figure who has been the focus of such intense scrutiny and the subject of so many shows over a concentrated period. Luther is for many the instigator of the Protestant Reformation and a great German cultural hero. For others, he remains a controversial, indeed divisive, figure who shattered Christian unity and profanely railed against his adversaries and the Jews. Yet as these numerous exhibitions clearly demonstrate, he changed his world, including the roles accorded to art, in ways that still reverberate today.
Источники и ЛИТЕРАТУРА
1. Bild und Botschaft: Cranach im Dienst von Hof und Reformation / Stiftung Schloss Friedenstein, Gotha and Museumslandschaft Hessen Kassel. — Heidelberg: Morio, 2015. — 365 s.
2. Smith J. Ch. German art in the Sixteenth Century: An Introduction // Renaissance & Reformation: German art in the age
14 The individuals are Luther, Johannes Eck, Argula von Grumbach, Caritas Pirckheimer, Veit Bild, Christoph Schappeler, Urbanus Rhegius, and Andreas Osiander. The towns included are Amberg, Ansbach, Augsburg, Coburg, Ingolstadt, Lindau, Memmingen, Munich, Neuburg an der Donau, Nuremberg, Regensburg, and Würzburg.
rn of Dürer and Cranach. Munich: Verlagsgruppe Random House, 2017. £ P. 28-57.
^ 3. Cranach im Gotischen Haus in Wörlitz / Hrsg.
rn von W. Savelsberg. — Munich: Hirmer, 2015. — 287 s.
4. Cranach in Weimar / Hrsg. von W. Holler, K. Kolb; SchillerMuseum Weimar. — Dresden: Sandstein Verlag Dresden und Klassik O Stiftung Weimar, 2015. — 216 s.
g 5. Cranach, Luther und die Bildnisse / Hrsg. von G. Schuchardt;
^ Schloss Wartburg, Eisenach. — Regensburg: Schnell & Steiner, 2015. — t* 208 s.
® 6. Emich B. Zwei Wahrheiten in einer Stadt? // Gedächtnis //
S Kontroverse & Kompromiss: Der Pfeilerbilderzyklus des Mariendoms w und die Kultur der Bikonfessionalität im Erfurt des 16. Jahrhunderts. ^ Dresden: Sandstein-Verlag, 2015. S. 267-281.
7. Im Aufbruch. Reformation 1517-1617 / Hrsg. von H. Pöppelmann, D. Rammler; Braunschweigisches Landesmuseum. — Dresden: Sandstein Kommunikation, 2017. — 456 s.
8. Julius Echter — Patron der Künste. Konturen eines Fürsten und Bischofs der Renaissance / Hrsg. von D. Dombrowski, M. J. Maier, F. Müller; Martin von Wagner Museum, Universität Würzburg. — Berlin: Deutscher Kunstverlag, 2017. — 425 s.
9. Kontroverse & Kompromiss. Der Pfeilerbilderzykus des Mariendoms und die Kultur der Bikonfessionalität im Erfurt des 16. Jahrhunderts / Hrsg. von E. Leuschner, F. Bornschein, K. Uwe Schierz; Angermuseum Erfurt. — Dresden: Sandstein-Verlag, 2015. — 400 s.
10. Krischke R. Wege zu Cranach: Kulturreiseführer. — Halle: Geschäftsstelle c/o Tourismus- und Veranstaltungsbetrieb der Stadt Kronach, 2015. — 114 s.
11. Lucas Cranach der Jüngere. Entdeckung eines Meisters / Hrsg. von R. Enke, K. Schneider, J. Strehle; Augusteum; Wittenberg. — Munich: Hirmehr Verlag, 2015. — 432 s.
12. Luther, Kolumbus und die Folgen. Welt im Wandel 15001600 / Hrsg. von Th. Eser, S. Armer; Germanisches Nationalmuseum, Nuremberg. — Nuremberg: Germanisches Nationalmuseum Abt. Verlag, 2017. 312 s.
13. Martin Luther and the Reformation: Essays. — Dresden: Sandstein Verlag, 2016. — 496 p.
14. Martin Luther und die Reformation in Deutschland / Hrsg. von G. Bott; Germanisches Nationalmuseum, Nuremberg. — Frankfurt: Insel, 1983. — 491 s.
15. Martin Luther: Treasures of the Reformation. — Dresden: Sandstein Verlag, 2016. — 503 p.
16. Müller R. Gott dem Herrn zu Ehren, dieser Kirchen zur Zierde und zu meinem und der meinigen Gedächtnis // Kontroverse w & Kompromiss: Der Pfeilerbilderzyklus des Mariendoms und die Kultur H der Bikonfessionalität im Erfurt des 16. Jahrhunderts. Dresden: w Sandstein-Verlag, 2015. S. 189-215. O
17. Peter Dell der Ältere — Zwischen Riemenschneider d und Reformation / Hrsg. von C. Lichte; Museum für Franken, ^ Würzburg. — Würzburg: Morio, 2017. — 366 s. T
18. Schrei nach Gerechtigkeit. Leben am Mittelrhein am Vorabend w der Reformation / Hrsg. von W. Wilhelmy. — Regensburg: Schnell U & Steiner, 2015. — 488 s. T
References .
1. Bott G. (1983) Martin Luther und die Reformation in Deutschland (Germanisches Nationalmuseum), Frankfurt: Insel, 491 p.
2. Smith J. Ch. (2017) German art in the Sixteenth century: An introduction, Renaissance & Reformation: German art in the age of Dürer and Cranach, Munich: Verlagsgruppe Random House, pp. 28-57.
3. Dombrowski D., Maier M. J., Müller F. (2017) Julius Echter — Patron der Künste. Konturen eines Fürsten und Bischofs der Renaissance (Martin von Wagner Museum, Universität Würzburg), Berlin: Deutscher Kunstverlag, 425 p.
4. Emich B. (2015) Zwei Wahrheiten in einer Stadt?, Kontroverse & Kompromiss: Der Pfeilerbilderzyklus des Mariendoms und die Kultur der Bikonfessionalität im Erfurt des 16. Jahrhunderts, Dresden: Sandstein-Verlag, pp. 267-281.
5. Enke R., Schneider K., Strehle J. (2015) Lucas Cranach der Jüngere. Entdeckung eines Meisters, Munich: Hirmehr Verlag, 432 p.
6. Eser Th., Armer S. (2017) Luther, Kolumbus und die Folgen. Welt im Wandel 1500-1600 (Germanisches Nationalmuseum, Nuremberg), Nuremberg: Germanisches Nationalmuseum Abt. Verlag, 312 p.
7. Gotha and Museumslandschaft Hessen Kasse (2015) Bild und Botschaft: Cranach im Dienst von Hof und Reformation, Heidelberg: Morio, 365 p.
8. Herbst K. (2016) Martin Luther and the Reformation: Essays, Dresden: Sandstein Verlag, 496 p.
9. Herbst K. (2016) Martin Luther: Treasures of the Reformation, Dresden: Sandstein Verlag, 503 p.
10. Holler W., Kolb K. (2015) Cranach in Weimar, Dresden: Sandstein Verlag Dresden und Klassik Stiftung Weimar, 216 p.
rn 11. Krischke R. (2015) Wege zu Cranach: Kulturreiseführer, Halle:
u Geschäftsstelle co Tourismus- und Veranstaltungsbetrieb der Stadt ^ Kronach, 114 p.
rn 12. Leuschner E., Bornschein F., Schierz K. U. (2015) Kontroverse
& Kompromiss. Der Pfeilerbilderzykus des Mariendoms und die Kultur der Bikonfessionalität im Erfurt des 16. Jahrhunderts (Angermuseum ° Erfurt), Dresden: Sandstein-Verlag, 400 p.
g 13. Lichte C. (2017) Peter Dell der Ältere — Zwischen
^ Riemenschneider und Reformation (Museum für Franken), Würzburg: tjj Morio, 366 p.
® 14. Müller R. Gott dem Herrn zu Ehren, dieser Kirchen
S zur Zierde und zu meinem und der meinigen Gedächtnis, Kontroverse w & Kompromiss: Der Pfeilerbilderzyklus des Mariendoms und die Kultur der Bikonfessionalität im Erfurt des 16. Jahrhunderts, Dresden: Sandstein-Verlag, pp. 189-215.
15. Pöppelmann H., Rammler D. (2017) Im Aufbruch. Reformation 1517-1617 (Braunschweigisches Landesmuseum), Dresden: Sandstein Kommunikation, 456 p.
16. Savelsberg W. (2015) Cranach im Gotischen Haus in Wörlitz, Munich: Hirmer, 287 p.
17. Schuchardt G. (2015) Cranach, Luther und die Bildnisse (Schloss Wartburg, Eisenach), Regensburg: Schnell & Steiner, 208 p.
18. Wilhelmy W. (2015) Schrei nach Gerechtigkeit. Leben am Mittelrhein am Vorabend der Reformation, Regensburg: Schnell & Steiner, 488 p.
Fig. 1. Martin Luther: Treasures of the Reformation. Dresden, 2016. Book cover.
GERHAN ART IN THE AGE OF DÜRER AND CRANACH
Fig. 2. Renaissance & Reformation: German art in the age of Dürer and Cranach. Munich, 2017. Book cover.
Fig. 3. Peter Dell der Ältere — Zwischen Riemenschneider und Reformation / Hrsg. von C. Lichte; Museum für Franken, Würzburg. Würzburg, 2017. Book cover.
Fig. 4. Kontroverse & Kompromiss. Der Pfeilerbilderzykus des Mariendoms und die Kultur der Bikonfessionalität im Erfurt des 16. Jahrhunderts / Hrsg. von E. Leuschner, F. Bornschein. Dresden, 2015. Book cover.
Fig. 5. Luther, Kolumbus und die Folgen. Welt im Wandel 15001600 / Hrsg. von Th. Eser, S. Armer; Germanisches Nationalmuseum, Nuremberg. Nuremberg, 2017. Book cover.
