|Title||Daniel Frese’s The Calumny of Apelles — Image, Text and Context|
|About author||Schöning, Annika — M.A. student, Institute of Art and Visual History, Humboldt’s University. Georgenstraße 47, Berlin, Germany, 10117.|
|In the section||Western Art from the Middle Ages to the 20th Century|
|Type of article||RAR||Index UDK||7.034(430)||Index BBK||85.14|
This essay is embedded in the context and discussion of the Lutheran pictorial conception and the role of humanism in Northern Germany. Related topics are networking, pictorial propaganda and the artist in Lutheran renaissance Germany — all shown based on the example of Daniel Frese’s painting The Calumny of Apelles. This painting can only be understood by considering the context, local environment of the Hanseatic city of Luneburg in northern Germany. Th e artist used known iconography, which was based on humanistic ideas and Lutheran imagery, to create a pictorial message of his own; the result is one of the first depictions of local history. Although he did not fi nd a new iconography, Daniel Frese proved to be an inventor by his remarkable way of leading the beholder and almost playing on his visual and intellectual experience.
|Reference||Schöning, Annika. Daniel Frese’s The Calumny of Apelles — Image, Text and Context. Actual Problems of Theory and History of Art: Collection of articles. Vol. 4. Eds: Svetlana V. Maltseva, Anna V. Zakharova. St. Petersburg, NP-Print Publ., 2014, pp. 287–294. ISSN 2312-2129.|
|Full text version of the article||Article language||english|