The epithetNazarene was adopted by a group of early 19th-centuryGerman Romantic painters who aimed to revivespirituality in art. The name Nazarene came from a term of derision used against them for their affectation of a biblical manner of clothing and hair style.
In 1809, six students at theVienna Academy formed an artistic cooperative inVienna called the Brotherhood of St. Luke orLukasbund, following a common name for medievalguilds of painters. In 1810 four of them,Johann Friedrich Overbeck,Franz Pforr,Ludwig Vogel and Johann Konrad Hottinger (1788–1827) moved toRome, where they occupied the abandoned monastery ofSan Isidoro. They were joined byPhilipp Veit,Peter von Cornelius,Julius Schnorr von Carolsfeld,Friedrich Wilhelm Schadow and a loose grouping of other German-speaking artists. They met up with Austrian romantic landscape artistJoseph Anton Koch (1768–1839) who became an unofficial tutor to the group. In 1827, they were joined byJoseph von Führich (1800–1876).
The principal motivation of the Nazarenes was a reaction againstNeoclassicism and the routine art education of the academy system. They hoped to return to art that embodied spiritual values, and sought inspiration in artists of theLate Middle Ages andearly Renaissance, rejecting what they saw as the superficial virtuosity of later art.
In Rome, the group lived a semi-monastic existence as a way of re-creating the nature of the medieval artist's workshop. Religious subjects dominated their output, and two major commissions allowed them to attempt a revival of the medieval art offresco painting. The first was a fresco series completed in Rome for theCasa Bartholdy (1816–17; moved to the Alte Nationalgalerie in Berlin), a collaborative project by the Nazarenes that "marks the beginning of the revival of fresco decoration for private and public buildings".[1] This, and a second commission to decorate the Casino Massimo (1817–1829), gained international attention for the work of the "Nazarenes". However, by 1830 all except Overbeck had returned to Germany and the group had disbanded. Many Nazarenes became influential teachers in German art academies.
The programme of the Nazarenes—the adoption of what they called honest expression in art and the inspiration of artists before Raphael—was to exert considerable influence in Germany upon theBeuron Art School,[2] and in England upon thePre-Raphaelite movement.[3] They were also direct influences on the British artistsWilliam Dyce andFrederick Leighton andFord Madox Brown.[4]
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