The Reception of Lautensack’s Works (original) (raw)

Divine Diagrams, 2014

Abstract

Despite Paul Lautensack's attempts to spread his revelations he remained isolated during much of his Nuremberg period. Patrons like the Gundelfingerin soon walked away bewildered, and the association with Oswald Ruland probably lasted only a few years. No document suggests that the painter ever succeeded in attracting long-term followers. Its sculptor, Peter Dell the Elder, a pupil of Tilman Riemenschneider and Hans Leinberger, had produced complex reliefs explaining Reformation doctrine when he was working at the Freiberg court of Henry the Pious in the late 1520s. Although Pseudo-Weigel's explanations of Lautensack's concepts are less systematic and harder to comprehend than those by Abraham Meffert and Paul Kaym (v.i.), by virtue of being printed and bound together with the only two authentic tracts by Lautensack published in the 17th century, they dominated his reception in the following decades.Keywords: Abraham Meffert; Freiberg court of Henry; Hans Leinberger; Nuremberg; Oswald Ruland; Paul Kaym; Paul Lautensack; Peter Dell; Tilman Riemenschneider

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