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Protestantism is usually thought of as rejecting the figure of Mary as a collaborator in Christ’s redemption. In Luther’s commentary on the Magnificat (1521), we can see that this doctrine would continue to evolve throughout his life, and would not always be free of apparent ambiguities. Luther extolled the figure of Mary, but at the same time he could not avoid reinterpreting her according to the presuppositions of the doctrine of justification and his theology of the Cross, and he understands the figure of Mary as a Mater dolorosa, as one who participates in a special way in the sorrow of her Son. Her union with the Saviour means she shares his pain. In these lines, we intend to look at the main points proposed by the German reformer in his new perspective on Mariology, and the possible influence of this change in spirituality on painting, for example, in The Crucifixion (1532) by Luther’s personal friend Lucas Cranach the Elder, and we propose a comparison with The Lamentation of Christ (1502), painted before the Reformation.

Theological thinking has shifted radically in the past half century as we shift back from a primarily textual and verbal culture to one which is heavily reliant on the immediacy of the visual. This, though rooted in ancient practice, has begun to change the patterns of theological thinking and the nature of the appropriation of doctrine and thence our practice of worship and liturgy. The shift actually has its origins in the changes that took place in the understanding of the visual arts after the Reformation, and therefore this essay will begin with a brief reflection on the work of Rembrandt and link this to contemporary art and theology at the present time. Vizualumo teologiniame mąstyme atgalios link Santrauka. Teologinis mąstymas radikaliai pakito XX a. antrojoje pusėje, perėjus nuo tekstualiosios ir žodinės kultūros link tos, kuri iš esmės priklausoma nuo vaizdo betarpiškumo. Nors vizualumas yra giliai įsišaknijęs senovės praktikose, tačiau jis ėmė keisti teologinio mąstymo modelius ir doktrinos įsisavinimo pobūdį, o kartu ir garbinimo bei liturgijos praktikas. Iš tikrųjų šį perėjimą sukėlė po Reformacijos vaizduojamųjų menų sampratoje įvykę pokyčiai. Todėl šią apžvalgą pradėsime glaustai aptardami Rembrandto paveikslą ir jo sąsają su šiuolaikiniu menu ir nūdiene teologija. Reikšminiai žodžiai:Barnettas Newmanas,Diego Velázquezas,Ericas Gillas,atvaizdas,Lucas Cranachas vyresnysis,parergon,Rembrandtas,autoportretas. First Published Online: 22 Dec 2014

Actes du Colloque international d’Aix-en-Provence (12 et 13 Septembre 2013); International audience

1 Abstract The Acceptance of Works of Lucas Cranach the Elder in Painting of the First Half of the 16th Century in Bohemia The thesis focuses on the personality and works of the Renaissance painter Lucas Cranach the Elder (1472-1553) and the acceptance of his works and works of his workshop in painting in the first half of the 16th century in Bohemia. The art production in Bohemia, analogous to the 15th century, was concentrated in small centres and was mainly directed to the painting of neighbouring, mainly German speaking countries. Traces of Cranach's unmistakable aesthetics could be spotted in the Czech lands from the first decade to the almost seventh decade of the 16th century. The life of Cranach's style was so long because it was prolonged, among others, by his son Lucas Cranach the Younger (1515-1586). We can assert that no other author or his followers was so successful in such a large scale, for such a long period of time nor had customers of broad walks of life as Lucas Cranach the Elder. The reason for this was seen by earlier researchers in mass workshop production and certain "easy acquirement" of his style (Max J. Friedländer) that spread especially from the 1520's outside the borders of the Electorate of Saxony. His works were accepted firstly through his graphic masters, secondly through...

This thesis deals with the production of Lucas Cranach the Elder. After the introductive encounter with the life of Lucas Cranach the Elder the emphasis is put on the mythological subjects with respect to their origin in historical sources and classical literature. The thesis also considers the different influences on Cranach's work in context with contemporary painters and humanism and presents the conditions mainly in the court of the Saxon Prince-electors where Cranach worked.

В статье анализируeтся иконография немецкого гуманиста XVІ века Филиппа Меланхтона. Особенности портретов Ф. Меланхтона работы Альбрехта Дюрера и Лукаса Кранаха Младшего, Ганса Гольбейна Младшего. The article analyzes the iconography of the German humanist of the XVI century Philip Melanchthon. Features of portraits of Philipp Melanchthon in the works by Albrecht Dürer and Lucas Cranach the Younger, Hans Holbein the Younger.