Spanish Nazarenes Artists in Rome

Štěpánek, Pavel

In Spain, the Nazarene movement was represented by a group of painters who worked in Rome: Luis de Madrazo, Eduardo Rosales, Alejo Vera and Domingo Valdivieso, but after all (known as the Catalans/all of them Catalans) the Catalans. The most important figure in this group was Pelegrí Clavé, who went on to become a professor at the Academy of San Carlo in Mexico. His Mexican students there included such names as José S. Pina, Santiago Rebull, Eugenio Landesio and José María Velasco.

The Heritage of the Nazarene tradition in Slovakia during the 2nd half of the 19th Century (J. B. Klemens and K. Švestka)

Beňová, Katarína

During the second half of the 19th century sacral painting increased in the area of the Upper Hungary (now Slovakia). By this time the main reason was quite productive rise of building of a new churches or renovation of the former ones. In this territory it was mostly the activity of the specialist for the sacral art, who under the conductorship of their donors and submitters influenced it. One of them was a member of the Franciscan order and painter Konrád Švestka (Schwestka, 1833 – 1907), active mainly during the second half of the 19th century.

The Interest in the Art of the Nazarenes in Slovakia

Herucová, Marta

The study is focused on the unknown artworks of Nazarenes preserved in Slovakia. It follows the ways by which came here the paintings, drawings and graphics by Johann Friedrich Overbeck and artists around him. Those were Johann Evangelist Scheffer von Leonhardshoff, Ludwig Schnorr von Carolsfeld, Carl von Blaas and Ferenc Szoldatics (Kupelwieser's and Führich's student). From Slovakia joined the Nazarenes the sculptor and draftsman Joseph Daniel Böhm from Spišské Vlachy; however his interests were wider.

A Memorial to the ‘Good Countess’ - The ‘Votive Painting Vargemont’ by Johann Evangelist Scheffer von Leonhardshoff

Lovecky, Katharina

One of the most important works by Johann Scheffer Evangelist von Leonhardshoff is his Votive Painting Vargemont. In this commemorative picture the artist combines the subject of the seven works of mercy with a bourgeois genre motif to create a memorial to the deceased Sophie von Vargemont. This essay addresses whether the treatment of this subject was traditional. It also looks at the painting in the context of the custom of memorial pictures and sculptures.


Herucová, Angelika
Machalíková, Pavla

The art of the early 19th century and especially the question of its directions after the year 1800 has repeatedly been the subject of attention of art historians in recent decades. The conventional image of the 19th century as a century of varying historicist styles, insisting on academic rules, sentimental and/or heroic religious and historic imagery and bourgeois taste seems to have more to it than just being a prelude to the modernism that emerged.

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