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Between the Lines of a Reformed Engraving by Hendrick Goltzius (Zwischen den Linien einer reformierten Druckgrafik: Hendrick Goltzius’ Moses mit den Gesetzestafeln (1583))

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Why did Hendrick Goltzius use three Roman Catholic engravings for the design of his Reformed Moses with the Tables of the Law (1583)? This article seeks to answer that question by analyzing the adaptation of the engravings. It shows the artist’s endeavor of creating a Reformed Protestant engraving and legitimizing his art and method through the Scriptures. Furthermore, explanations for Goltzius’s use of his models will be presented, while one of them identifies the reference to a specific engraving as a strategy of artistic subversion.Der vorliegende Beitrag geht der Frage nach, warum gerade drei katholische Stiche Hendrick Goltzius beim Entwurf der reformierten Druckgrafik Moses mit den Gesetzestafeln (1583) als Vorlagen dienten. Dafür wird zunächst deren Adaption analysiert. Hierbei wird deutlich, dass der Künstler sich um die Gestaltung eines reformierten Stichs bemüht und gleichzeitig seine Technik und Kunst biblisch legitimiert. Anschließend werden Erklärungen für die Verwendung von Vorlagen vorgestellt, darunter eine, die in dem Rekurs auf einen der drei Stiche eine subversive künstlerische Strategie erkennt.

Affiliations: 1: DFG-Graduiertenkolleg 2008: Interkonfessionalität in der Frühen Neuzeit, Fakultät für Geisteswissenschaften, Universität Hamburg, Deutschland, elena.tolstichin@uni-hamburg.de

10.1163/18796583-04502011
/content/journals/10.1163/18796583-04502011
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/content/journals/10.1163/18796583-04502011
2017-04-20
2017-11-20

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