Who are the Nazarenes and why they were considered the most mysterious movement of artists in the name of spirituality

2024 Author: Richard Flannagan | [email protected]. Last modified: 2023-12-15 23:55

A group of dropouts from the Academy of Arts in Vienna occupy an abandoned building in Rome and are gaining a reputation in society for their unconventional artistic innovation and unusual appearance (mantle, sandals and long hair). They are now known as the "Nazarenes". How did the pioneering movement try to change the course of art history?

The history of the creation of the brotherhood

In 1809, disappointed with the teaching methodology at the Academy of Fine Arts in Vienna and the general state of German art, the German artist Julius Schnorr von Karolsfeld organized, together with his fellow artists, a single movement, the main goal of which was the revival of energetic and spiritual content in the religious genre of art. The Nazarenes believed that all art should serve a moral or religious purpose. The founders - sought to reform art by revitalizing historical and religious painting. The group also wanted to revive frescoes, medieval illuminated manuscripts and early Renaissance works. Demonstrating their renunciation of neoclassicism (believing that its followers abandoned religious ideals in favor of artistic virtuosity), the brotherhood was the first effective anti-academic movement in European painting.

The original members of the fraternity were six students from the Vienna Academy. Four of them, Friedrich Overbeck, Franz Pforr, Ludwig Vogel and Johann Konrad Hottinger, moved to Rome in 1810, where they occupied the abandoned monastery of Sant'Isidoro. From 1810 to 1815 they worked together and led an almost monastic life. Subsequently, they were joined by Peter von Cornelius, Wilhelm von Schadov and others.

origin of name

Despite the lofty goals of the movement, they were made famous … by the features of their appearance. The Nazarenes got their name in 1817 thanks to the Austrian artist Joseph Anton Koch (1768–1839), a follower of Nicolas Poussin. The name was given to them because of their godly lifestyle, biblical clothing, and long hair. The nickname "alla nazarena" - the traditional name for the hairstyle with long hair, known from Dürer's self-portraits - stuck and eventually got into all history books. The new union also had alternative names: the Brotherhood of St. Luke and the Guild of St. Luke.

Goals of the movement

Their painting was based on early German romanticism, medieval and patriotic art, but with deep Christian mysticism and religion. Inspired by their Catholic faith, they believed that art should serve a religious or moral purpose, and sought to return to the German Renaissance style under the leadership of Albrecht Dürer (1471-1528).

Nazarene painters also sought to revive the original painting idealism of the Italian Trecento (1300-1400) and Quattrocento (1400-1500), imitating such Italian artists as Perugino, Fra Angelico, and Raphael. The influence of Baroque painting can also be seen in the works of the Nazarenes, making the movement's style quite eclectic. In addition, they strongly believed in the dominance of design (what the Italians called "disingo") over color (what the Italians called "colorito").

The Nazarene art, which consisted mainly of religious subjects in a traditional naturalistic style, was largely unimpressive. It is characterized by overflowing compositions, excessive attention to detail, and a lack of coloristic or formal vitality. However, their goal of honestly expressing deeply felt ideals had an important influence on subsequent movements, especially the English Pre-Raphaelites of the mid-19th century. The Nazarenes also believed that the mechanical routine of the academic system could be avoided by returning to a more traditional teaching system in the medieval workshop. For this reason, they worked and lived together in a semi-monastic existence. The patriotic spirit prompted the fraternity to focus on historical painting (representing scenes from German history, both real and fictional), but they were also very fond of religious art (biblical scenes from the Old and New Testaments), as well as allegorical themes (like the Pre-Raphaelites).

Fresco painting

One of the group's main goals was the revival of monumental fresco painting. They were lucky to receive two important orders: the frescoes of Casa Bartholdi (1816–17) and the Casino Massimo (1817–29) in Rome, which attracted international attention to their movement. By the time the Massimo Casino frescoes were completed, everyone except Overbeck had returned to Germany and the group disbanded.

Decay of the movement and legacy

As a united movement, the Nazarenes disintegrated in the 1820s, but the views of individual representatives continued to influence the visual arts until 1850. Peter Cornelius moved to Bavaria and worked there on a series of frescoes at the Ludwigskirche, including a version of the Last Judgment, which is larger than Michelangelo's counterpart in the Sistine Chapel. Later, Cornelius became rector of the Academy of Arts in Düsseldorf and Munich, becoming an influential figure in German painting of the 19th century.

If Cornelius was a particular enthusiast in the historical genre of art, then Friedrich Overbeck - arrogant and active - wrote almost exclusively religious works. His most famous painting is the Miracle of the Rose by St. Francis (1829, Porziancola Chapel, S. Maria del Angeli, Assisi). His workshop has rightfully become the main meeting place for artists in Rome.

Panels, canvases and frescoes by Nazarene artists can be seen in a number of the best art museums in Europe.