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Lionel Gossman Unwilling Moderns: The Nazarene Painters of the Nineteenth Century Nineteenth-Century Art Worldwide 2, no. 3 (Autumn 2003) Citation: Lionel Gossman, “Unwilling Moderns: The Nazarene Painters of the Nineteenth Century,” Nineteenth-Century Art Worldwide 2, no. 3 (Autumn 2003), http://www.19thc- artworldwide.org/autumn03/273-unwilling-moderns-the-nazarene-painters-of-the-nineteenth- century. Published by: Association of Historians of Nineteenth-Century Art Notes: This PDF is provided for reference purposes only and may not contain all the functionality or features of the original, online publication. ©2003 Nineteenth-Century Art Worldwide Gossman: Unwilling Moderns: The Nazarene Painters of the Nineteenth Century Nineteenth-Century Art Worldwide 2, no. 3 (Autumn 2003) Unwilling Moderns: The Nazarene Painters of the Nineteenth Century by Lionel Gossman Introduction Widely acclaimed in their own time, the Nazarene artists of early nineteenth-century Germany are virtually unknown to the museum-going public in most Western countries today. Even among art historians, only a few have much familiarity with their work. Keith Andrew's pioneering monograph in English, The Nazarenes (Oxford: Clarendon Press, 1964), cannot be said to have substantially changed this situation and the book has been allowed to go out of print.[1] The first question to be addressed in any reconsideration of the Nazarenes is therefore historiographical: How did they fall into almost total oblivion outside their native land? As most judgments of their work by those who do know it are, in addition, ambiguous at best, a further step must be to reconstruct the situation to which the Nazarenes were responding and the political, ethical, and aesthetic choices they faced.
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