Page 15 - Gallery 19C Nazarenes Catalogues

Lukasbrüder and Nazarenes embarked on a quest for origins. In art, he found those in the Italian
trecento, in a Pinturicchio, Perugino and Raphael; in faith, however, in
Among the original cohort, Johann Friedrich Overbeck and the Roman Catholic Church. In 1813, he left his native Protestantism
Franz Pforr were the unchallenged leaders. “You are our priest,” behind and converted. This was a bold, indeed a scandalous step
a mesmerized Joseph Sutter exclaimed to Overbeck, “and Pforr is in an age that considered leaving one Christian denomination for
our master. Religion and wisdom guide us through you, dearest ones, another close to treason. And Overbeck would not be the only one.
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accompanied with the blessing of heaven.” Unfortunately, neither Even before joining the Lukasbund, Veit, the grandson of arguably
he nor the other three recruits were particularly capable, and the the most important Jewish philosopher of the Enlightenment, Moses
fraternity’s future would have looked rather dim if it had not been for Mendelssohn (1729–1786), had undertaken the same step in 1810, and
an unexpected influx of great talent. Once in Rome, the Lukasbund when Schadow went to Assisi in 1814 to come to terms with his faith, he,
quickly grew. In 1812, Peter Cornelius (1783–1867) took the oath, too, returned as a Catholic convert. At the years went on, the theme of
followed by Philipp Veit (1793–1877) in 1816 and, a year later and from conversion lost nothing of its urgency, least for the artists themselves.
afar, by Ferdinand Olivier (1785–1841), his younger brother, Friedrich In the meantime, the nickname stuck. When the Lukasbund’s
(1791–1859), and the exceptional Julius Schnorr von Carolsfeld artistic practices gained momentum beyond the confines of their
(1794–1872). And here, we also meet Wilhelm Schadow again, who brotherhood, a movement was born; its members: The Nazarenes.
had travelled to Rome in 1811 with his brother, Rudolf (1786–1822).
Given his artistic outlook and religious sensibility he seems almost Thus, only the members of the brotherhood first founded in Vienna in
predestined to become a Lukasbruder, and in 1813, the Berlin painter 1809 were Lukasbrüder (German singular, Lukasbruder); yet together,
indeed joined the group. By then, Cornelius had taken the place of they were also the originary Nazareni. Subsequently, however, that
the prematurely deceased Pforr as the fraternity’s new master. 12 term “Nazarene” emancipated itself from its specific origins in early
19 -century Rome. It swiftly became the general designation for a
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With the final cast assembled it is time to say a word about the certain style of modern revivalism. Several of its potent variations
ensuing transition from close, sworn-in fraternity to an international are traced in these pages, which, however, cannot give an exhaustive
movement, and from the specific designation Lukasbund to the account of the movement. Nazarene art would go on to thrive far into
general term Nazarenes. This is where the Romans come in. the 20 century, while their model of an artists collective, fashioned
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after a medieval guild or even a monastic order, would inspire others,
Heading South, the fraternity had simply followed in the footsteps
of endless generations of Northern artists before them. Yet their from the Pre-Raphaelite Brotherhood in England to the Beuron
path differed notably from that of their immediate Neoclassicist Art School, which, as part of the Benedictine order, would not only
predecessors. Their pilgrimage did not lead to the treasure trove of create murals across the globe, from Italy to the Czech Republic,
antiquity but to Christianity’s holy sites, their destiny was not Caesar’s from Brazil to the United States, but also influence Gustav Klimt and
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empire, but the Pope’s dominion. Once arrived in the Eternal City, the Vienna Secession. The art of the Lukasbund hit the mark, and
the expatriates quickly became a target of mockery. Under the heat by 1830, the Nazarenes had eclipsed their German rivals, and this
of the Southern sun, they appeared strangely gloomy, from their pale includes the now-famous Caspar David Friedrich (1774–1840). This
complexion to the German cloaks they wore with patriotic pride and was particularly true in terms of an international recognition. When
anti-Napoleonic fervor. The Italians were particularly bewildered by the French, for example, finally discovered the école allemande, they
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the Lukasbrüder’s unfashionable coiffure that, with the hair worn long associated it almost exclusively with the Nazarene movement.
and parted in the middle, imitated Christ’s appearance. Amused, the
Romans gave the new arrivals the nickname I Nazareni. This nickname
seemed the more appropriate as the Germans’ pilgrimage South was
as much driven by artistic as spiritual needs, and with far-reaching
consequences. Pursuing Truth in art and faith alike, Overbeck had

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