Matthias Gerung (ca. 1500-1570) y la visión apocalíptica del «peligro turco» bajo el prisma de la estampa polémica protestante
Bibliographic Data
| ID | 12488591 |
|---|---|
| Authors | José Júlio García Arranz (0000-0002-7052-8754, Universidad de Extremadura, corresponding author) |
| Year | 2025 |
| Volume | 28 |
| Issue | 2 |
| Pages | 33-70 |
| Publication date | 2025-11-05 |
| Open Access | Yes |
| Type | ARTICLE |
| Venue | Memoria y Civilización (JOURNAL) |
| Journal identifiers | ISSN: 1139-0107 • E-ISSN: 2254-6367 |
| Publisher | Universidad de Navarra (PUBLISHER • ES) |
| DOI | 10.15581/001.28.2.003 |
| OpenAlex | W4415985844 |
| Language | ES |
| References cited | 16 |
The painter and engraver Matthias Gerung, a prominent figure in the controversial Protestant visual culture of the mid-16th century, was commissioned by Count Henry Otto of the Palatinate-Neuburg to illustrate the German translation of the Commentary on the Apocalypse by the Reformed theologian Sebastian Meyer. The text was never published, but Gerung completed numerous large woodcuts intended to illuminate the printed book, which are arranged in pairs according to a descriptive-allegorical antithetical scheme. In these images, we find several examples where both the Pope and his followers, along with the Turkish invaders threatening Europe, are caricatured or demonized, thus creating an interesting duplication of the mythical figure of the Antichrist. This article examines the presence of characters with clearly Ottoman features in Gerung’s engraved series in light of both Meyer’s commentaries and the broader context of Lutheran thought regarding the «Turkish threat»
Ambivalence · Context (archaeology · German · Painting · Protestantism · Symbol (formal · Woodcut · Historical, Literary, and Cultural Studies · Reformation and Early Modern Christianity · Sephardic Jews and Inquisition Studies
| Highly cited | No |
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