The Reformation of the Image

Martin Luther preached the radical notion that we are saved through faith alone. With one stroke, he overturned a thousand years of practice and teaching. Gone was the need for saintly intercessors and a special priesthood or the richly decorated and image-filled churches in which such mediation could take place. What counted now was faith arriving inwardly, in each individual, through the text of the Bible—the naked Word of God itself. But if words—not iconic images—led the believer to salvation, why didn’t religious imagery disappear during the Reformation? The answer, according to Joseph Leo Koerner’s masterful The Reformation of the Image, lies in the paradoxical nature of Protestant religious imagery itself, which is at once both iconic and iconoclastic. According to Koerner, it is this “iconoclash” that characterizes Reformation art. The Reformation of the Image compellingly shows how visual art became indispensable to a religious movement built on words. It also reveals in Protestant images a powerful instance of modern disenchantment: the disappearance of magic both from images and from the world. “Unfailingly arresting and inventive . . . it is a long time since a work of art history has kept me so consistently reaching for a pencil to register ardent appreciation or violent dissent.”—Eamon Duffy, London Review of Books

Arts & Photography

Koerner, Joseph Leo

History & Criticism

University of Chicago Press

In this groundbreaking and elegantly written study, Joseph Koerner establishes the character of Renaissance art in Germany. Opening up new modes of inquiry for historians of art and early modern Europe, Koerner examines how artists such as Albrecht Durer and Hans Baldung Grien reflected in their masterworks the changing status of the self in sixteenth-century Germany. "[A] dazzling book. . . . He has turned out one of the most powerful, as well as one of the most ambitious, art-historical works of the last decade." — Anthony Grafton, New Republic "Rich and splendid. . . . Joseph Koerner's book is a dazzling display of scholarship, enfolding Durer's artistic achievement within the broader issues of self and salvation, and like [Durer's] great Self- Portrait it holds up a mirror to the modern fable of identity." — Bruce Boucher, The Times "Remarkable and densely argued." — Marcia Pointon, British Journal of Aesthetics "Herculean and brilliant. . . . Will echo in fields beyond the Sixteenth-Century and Art History." — Larry Silver, Sixteenth Century Journal "May be the most ambitious of recent American reflections on the mysteries of German art. His elegantly written book deals with the fateful period in the history of German art when it reached its highest point. . . . Offers deeper and more disturbing insights into German Renaissance art than most earlier scholarship." — Willibald Sauerlander, New York Review of Books

The Moment of Self-Portraiture in German Renaissance Art

In this groundbreaking and elegantly written study, Joseph Koerner establishes the character of Renaissance art in Germany. Opening up new modes of inquiry for historians of art and early modern Europe, Koerner examines how artists such as Albrecht Durer and Hans Baldung Grien reflected in their masterworks the changing status of the self in sixteenth-century Germany. "[A] dazzling book. . . . He has turned out one of the most powerful, as well as one of the most ambitious, art-historical works of the last decade." — Anthony Grafton, New Republic "Rich and splendid. . . . Joseph Koerner's book is a dazzling display of scholarship, enfolding Durer's artistic achievement within the broader issues of self and salvation, and like [Durer's] great Self- Portrait it holds up a mirror to the modern fable of identity." — Bruce Boucher, The Times "Remarkable and densely argued." — Marcia Pointon, British Journal of Aesthetics "Herculean and brilliant. . . . Will echo in fields beyond the Sixteenth-Century and Art History." — Larry Silver, Sixteenth Century Journal "May be the most ambitious of recent American reflections on the mysteries of German art. His elegantly written book deals with the fateful period in the history of German art when it reached its highest point. . . . Offers deeper and more disturbing insights into German Renaissance art than most earlier scholarship." — Willibald Sauerlander, New York Review of Books

With his 95 Theses, Martin Luther advanced the radical notion that all Christians could enjoy a direct, personal relationship with God—shattering years of Catholic tradition and obviating the need for intermediaries like priests and saints between the individual believer and God. The text of the Bible, the Word of God itself, Luther argued, revealed the only true path to salvation—not priestly ritual and saintly iconography. But if words—not iconic images—showed the way to salvation, why didn't religious imagery during the Reformation disappear along with indulgences? The answer, according to Joseph Leo Koerner, lies in the paradoxical nature of Protestant religious imagery itself, which is at once both iconic and iconoclastic. Koerner masterfully demonstrates this point not only with a multitude of Lutheran images, many never before published, but also with a close reading of a single pivotal work—Lucas Cranach the Elder's altarpiece for the City Church in Wittenberg (Luther's parish). As Koerner shows, Cranach, breaking all the conventions of traditional Catholic iconography, created an entirely new aesthetic for the new Protestant ethos. In the Crucifixion scene of the altarpiece, for instance, Christ is alone and stripped of all his usual attendants—no Virgin Mary, no John the Baptist, no Mary Magdalene—with nothing separating him from Luther (preaching the Word) and his parishioners. And while the Holy Spirit is nowhere to be seen—representation of the divine being impossible—it is nonetheless dramatically present as the force animating Christ's drapery. According to Koerner, it is this "iconoclash" that animates the best Reformation art. Insightful and breathtakingly original, The Reformation of the Image compellingly shows how visual art became indispensable to a religious movement built on words.

In this visually stunning and much anticipated book, acclaimed art historian Joseph Koerner casts the paintings of Hieronymus Bosch and Pieter Bruegel in a completely new light, revealing how the painting of everyday life was born from what seems its polar opposite: the depiction of an enemy hell-bent on destroying us.
Supreme virtuoso of the bizarre, diabolic, and outlandish, Bosch embodies the phantasmagorical force of painting, while Bruegel, through his true-to-life landscapes and frank depictions of peasants, is the artistic avatar of the familiar and ordinary. But despite their differences, the works of these two artists are closely intertwined. Bruegel began his career imitating Bosch's fantasies, and it was Bosch who launched almost the whole repertoire of later genre painting. But Bosch depicts everyday life in order to reveal it as an alluring trap set by a metaphysical enemy at war with God, whereas Bruegel shows this enemy to be nothing but a humanly fabricated mask. Attending closely to the visual cunning of these two towering masters, Koerner uncovers art history’s unexplored underside: the image itself as an enemy.
An absorbing study of the dark paradoxes of human creativity, Bosch and Bruegel is also a timely account of how hatred can be converted into tolerance through the agency of art. It takes readers through all the major paintings, drawings, and prints of these two unforgettable artists―including Bosch’s notoriously elusive Garden of Earthly Delights, which forms the core of this historical tour de force. Elegantly written and abundantly illustrated, the book is based on Koerner’s A. W. Mellon Lectures in the Fine Arts, a series given annually at the National Gallery of Art, Washington.

Bosch and Bruegel: From Enemy Painting to Everyday Life (The A. W. Mellon Lectures in the Fine Arts)

Princeton University Press

Great exhibition catalog, nicely illustrated, featuring the printing arts of Pieter Bruegel the Elder, Northern Renaissance artist. 65 mostly black and white illustrations of prints - engravings, woodcuts, and etchings. Landscapes, farmers, religious scenes, genre scenes, parables. Bibliography. Softcover. 112 pages. Measures 9 1/2 by 12 inches. Interesting book / exhibit catalog, nicely illustrated.

The Printed World of Pieter Bruegel the Elder

Butts, Barbara

Graphic Design

St Louis City Art Museum

Caspar David Friedrich and the Subject of Landscape

Yale University Press

Caspar David Friedrich (1774-1840) is heralded as the greatest painter of the Romantic movement in Germany, and Europe's first truly modern artist. His mysterious and melancholy landscapes, often peopled with lonely wanderers, are experiments in a radically subjective artistic perspective--one in which, as Freidrich wrote, the painter depicts not "what he sees before him, but what he sees within him." This vulnerability of the individual when confronted with nature became one of the key tenets of the Romantic aesthetic. Now available in a compact, accessible format, this beautifully illustrated book is the most comprehensive account ever published in English of one of the most fascinating and influential nineteenth-century painters. "This is a model of interpretative art history, taking in a good deal of German Romantic philosophy, but founded always on the immediate experience of the picture. . . . It is rare to find a scholar so obviously in sympathy with his subject."--"Independent"

Individual Artists

Reaktion Books

The religious turmoil of the sixteenth century constituted a turning point in the history of Western Christian art. The essays presented in this volume investigate the ways in which both Protestant and Catholic reform stimulated the production of religious images, drawing on examples from across Europe and beyond.Eight essays by leading scholars in the fieldBrings art historians and historians into productive dialogueBroad chronology, from the sixteenth to the eighteenth centuryBroad geographical coverageRichly illustrated 

Art and Religious Reform in Early Modern Europe (Art History Special Issues)

Heal, Bridget

Wiley/Blackwell

With 140 images from collections all over the world, from Van Eyck to Chuck Close, this book includes pioneering essays on self-portraiture by leading art historians as well as informative analyses of almost sixty major works. The artists are shown constructing their identity, setting the scene for their life and times and above all showing themselves as creative individuals often captured in the act of conjuring their own image in the studio.

Self Portrait: Renaissance to Contemporary

Clark, T.J.

Jordanova, Ludmilla

Woodall, Joanna

Bond, Anthony

Collections, Catalogs & Exhibitions

Natl Portrait Gallery Pubns

See the best price to sell, buy, or rent books by Koerner, Joseph Leo. BookScouter helps to compare book prices from 25+ online bookstores and 30+ buyback vendors with a single search.

Books by Koerner, Joseph Leo

See the best price to sell, buy, or rent books by Koerner, Joseph Leo. BookScouter helps to compare book prices from 25+ online bookstores and 30+ buyback vendors with a single search.

The Reformation of the Image

The Moment of Self-Portraiture in German Renaissance Art

The Moment of Self-Portraiture in German Renaissance Art

The Reformation of the Image

Bosch and Bruegel: From Enemy Painting to Everyday Life (The A. W. Mellon Lectures in the Fine Arts)

The Printed World of Pieter Bruegel the Elder

Caspar David Friedrich and the Subject of Landscape

Caspar David Friedrich and the Subject of Landscape

Art and Religious Reform in Early Modern Europe (Art History Special Issues)

Self Portrait: Renaissance to Contemporary