老卢卡斯·克拉纳赫《安德烈亚斯·博登斯坦·冯·卡尔施塔特的肖像》

IF 0.1 0 MEDIEVAL & RENAISSANCE STUDIES
Alejandro Zorzin
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引用次数: 0

摘要

安德烈亚斯·博登斯坦·冯·卡尔施塔特(Andreas Bodenstein von Karlstadt)的传统面部肖像对他的接受产生了重大影响。他唯一的真实形象直到1988年才为人所知。这是为纪念他在巴塞尔逝世(1541年)而印制的一幅小木刻。以前,人们普遍认为他肤色黝黑,(几乎)像黑人。然而,有一幅1522年的双人肖像,由老卢卡斯·克拉纳赫(Lucas Cranach the Elder)创作,画的是一个不知名的男人和新娘,自20世纪20年代以来,学术界就知道了这幅画。将1541年巴塞尔肖像画的特征与克拉纳赫画中不知名人物的特征进行比较表明,它们很可能描绘的是同一个人。由于卡尔施塔特与安娜·冯·莫肖的婚礼是在1522年1月19日举行的,有充分的理由推测这些克拉纳赫的肖像画是为这位改革家和他的妻子私人拥有的。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
A Portrait of Andreas Bodenstein von Karlstadt by Lucas Cranach the Elder
ABSTRACT The traditional facial portrait of Andreas Bodenstein von Karlstadt has significantly influenced his reception. His apparently sole authentic image was not known until 1988. It is a small woodcut on a broadsheet printed in commemoration of his death in Basel (1541). Previously, the notion was widespread that he was of a swarthy, (almost) negroid (nigricans) appearance. However, there is a double portrait, dated 1522, by Lucas Cranach the Elder, of an anonymous man and bride, and known to the scholarly world since the 1920s. A comparison of the features of the 1541 Basel portrait with those of the unknown man on the Cranach painting indicates that they quite possibly depict the same person. Since Karlstadt’s wedding with Anna von Mochau took place on 19 January 1522, there are strong reasons to surmise that the these Cranach portraitures were made for the private possession of the Reformer and his wife.
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来源期刊
REFORMATION & RENAISSANCE REVIEW
REFORMATION & RENAISSANCE REVIEW MEDIEVAL & RENAISSANCE STUDIES-
CiteScore
0.40
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