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konsequent in seiner religiösen
Lebensauffassung, dass er im Sinne des mittelalterlichen Bescheidenheitstopos vielfach auf die Signatur seiner Werke verzichtete. Die Rekonstruktion seiner Lebensumstände kristallisierte Max Schmalzl als Inkarnation des Ideals vom christlichen Künstler heraus. Ein Ideal, das seitens der christlichen Kunsttheorie des fortgeschrittenen 19. Jahrhunderts vehement gefordert wurde. In Schmalzl fand die Vorstellung vom demütigen, frommen und arbeitsamen Malermönch, die bereits die Nazarener und die Beuroner zu verwirklichen suchten, ihren finalen Höhepunkt.
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religious view of life that, with a medieval sense of modesty, he often declined to sign his works. An evaluation of the details of his life shows Max
Schmalzl to be the incarnation of the ideal of the Christian artist, an ideal that was vehemently demanded by Christian art theory in the late 19th century. In Schmalzl, the ideal of the humble, pious, and industrious painter monk, an ideal which the Nazarene and Beuron movements were striving for, reached its final climax.
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383:("It is proven that the ubiquitous presence of his works resulted primarily from the nearly 50-year-long collaboration with the Regensburg publishing house Friedrich Pustet. Pustet dominated the world market for liturgical books in the last quarter of the 19th century. The enormous circulation figures — sometimes reached a circulation of up to 500,000 copies — made for a worldwide distribution of Schmalzl's works.")
260:, Schmalzl's work became ubiquitous in Catholic circles. Schmalzl provided the publisher with about 150 illustrations for liturgical works, books for private devotion, and mass-produced religious articles which circulated widely and made his work known throughout the world. In addition to illustrations and painting, Schmalzl also designed sculptures, altars, liturgical instruments and other religious objects, such as
160:. His older brother, Peter Schmalzl (1835–1874), was a Redemptorist priest who was a painter in his own right, and his nephew Rudolf Schmalzl (1890–1932) was also a well-known church painter. Schmalzl would later occasionally collaborate with his nephew, most notably in the decoration of the pilgrimage church of Halbmeile near
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Because of his monastic lifestyle, Schmalzl was able to be entirely devoted to his work. His artistic subjects were exclusively religious, and his style devotional, dogmatically determined, and precisely drafted. The aesthetic of his work was inspired by the
Nazarene school, which looked to the early
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In blatant contrast to his work, which was known and respected by the entire
Catholic world at the time, Max Schmalzl led the secluded life of a lay brother in the monastery of Gars am Inn, and placed himself and his artistic abilities at the service of the Church. Schmalzl was so consistent in his
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Gegensatz zu seinem Werk, das von der damaligen gesamten katholischen Welt betrachtet und beachtet wurde, fĂĽhrte Max
Schmalzl im Kloster Gars am Inn das zurückgezogene Leben eines Laienbruders und stellte sich und seine künstlerischen Fähigkeiten völlig in den Dienst der Kirche. Schmalzl war so
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as a model in terms of spiritual purity. Beuronese overtones are obvious, however, in his highly geometric compositions and the general monastic spirit with which he approached his work. In the end, however, his artistic style was uniquely his: he developed a particular style very early in his
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Belegt ist, dass die massenphänomenartige Präsenz seiner Werke in erster Linie aus der fast 50 Jahre währenden
Zusammenarbeit mit dem Regensburger Verlag Friedrich Pustet resultierte. Pustet beherrschte im letzten Viertel des 19. Jahrhunderts den Weltmarkt fĂĽr liturgische BĂĽcher. Die enormen
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Because of his monastic background and the fact that he remained faithful to the
Nazarene approach until his death in 1930, Schmalzl has been called "the Last Nazarene." At the height of his fame, he was called "the Bavarian
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where he was a student of
Theodor Spieß (1846–1920). Schmalzl received an education as a decorative painter and was recognized for his talents such that he received a royal scholarship of 200
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Although many of his illustrations are not signed, Schmalzl did occasionally incorporate the initials "FMS" or "FrMSch" into his work, both of which stand for
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Apse and sanctuary of the Church of Our Lady of
Perpetual Help in Cham, Germany. The colorful fresco decoration of the church is of Schmalzl's design.
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Auflagenzahlen – mitunter erreichte Pustet eine
Auflage von bis zu 500.000 Exemplaren – sorgten für eine weltweite Verbreitung von Schmalzls Werken.
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In addition to his illustration work for Friedrich Pustet, Schmalzl was also responsible for the decoration and furnishing of several churches.
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Design of the frescoes, stained glass, liturgical furnishings and other decorations in the Church of Our Lady of Perpetual Help (
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Frater Max Schmalzl (1850–1930). Katholische Bildpropaganda in der christlichen Kunst des späten 19. Jahrhunderts
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Auf, auf, O Mensch, mach dich bereit: Totentanzdarstellungen in den Gebietsgrenzen der heutigen Oberpfalz
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career, and he remained faithful to that style throughout the entire course of his career.
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After completing his training as an artist, Schmalzl joined the Redemptorist Order at
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Decoration of the private chapel of the Redemptorists at Gars am Inn, Germany (1885)
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Decoration of the monastery chapel of the Church of Our Lady of Perpetual Help in
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Schmalzl died at the monastery in Gars am Inn on 7 January 1930 at the age of 79.
156:, Max Schmalzl came from a Catholic family that was both religious and devoted to
608:"Comitiva de Aparecida visita Ăcone de Nossa Senhora do PerpĂ©tuo Socorro em Roma"
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Soli Deo Gloria Sacred Art: Wood Engravings of Traditional Devotional Art
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who worked as a painter, illustrator, and designer in the style of the
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schools. His intricate woodcuts and illustrations are ubiquitous in
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Monika Schwarzenberger-Wurster, in a 2010 doctoral thesis for the
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520:(in German). Bayerisches Fernsehen. 29 May 2004. Archived from
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and devotional volumes from the late 1800s and early 1900s.
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Archiv verlassen und diese Seite im Standarddesign anzeigen
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Design of the altar and frescoes in the Bavarian Chapel of
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518:"Reliquienkreuz: Um 1889, von Max Schmalzl, Regensburg"
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Decoration of the parish church of St. Bartholomew in
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675:. Parrocchia di S. Gioacchino ai Prati di Castello
758:Schwarzenberger-Wurster, Monika (21 June 2010),
427:(in German). Ahnenforschung.net. 9 January 2008
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772:Hausberger, Karl; Hubensteiner, Benno (1985),
252:Due to a long-standing collaboration with the
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108:(7 July 1850 – 7 January 1930) was a German
778:(in German), Munich: SĂĽddeutscher Verlag,
194:there in November 1871. He never received
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719:"Cathedral Basilica of the Assumption"
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767:(in German), University of Regensburg
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606:Marcon, Matheus (2 September 2016).
753:(in German), Oberpfälzer Kulturbund
644:Renju, Peter (19 September 2016).
505:Hausberger & Hubensteiner 1985
171:(Royal School of Applied Arts) in
148:with illustrations by Max Schmalzl
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838:20th-century German male artists
828:19th-century German male artists
721:. Kenton County Public Library
198:, but remained a lay brother.
99:Painter, illustrator, designer
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169:Königliche Kunstgewerbeschule
142:A 1911 Pustet edition of the
89:Königliche Kunstgewerbeschule
833:20th-century German painters
823:19th-century German painters
775:Bayerische Kirchengeschichte
706:Schwarzenberger-Wurster 2010
694:Schwarzenberger-Wurster 2010
629:Schwarzenberger-Wurster 2010
594:Schwarzenberger-Wurster 2010
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570:Schwarzenberger-Wurster 2010
493:Schwarzenberger-Wurster 2010
481:Schwarzenberger-Wurster 2010
458:Schwarzenberger-Wurster 2010
446:Schwarzenberger-Wurster 2010
813:People from Cham (district)
339:Cathedral of the Assumption
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302:Sant'Alfonso all'Esquilino
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669:"Cappella della Baviera"
324:Klosterkirche Maria Hilf
228:University of Regensburg
673:San Gioacchino in Prati
317:San Gioacchino ai Prati
152:Born on 7 July 1850 in
843:German Roman Catholics
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167:Schmalzl attended the
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744:PreiĂźl, Edda (1990),
330:, Germany (1902–1909)
319:in Rome, Italy (1904)
297:, Germany (1893–1897)
287:, Germany (1873–1880)
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610:(in Portuguese). A12
205:Legacy and influence
154:Falkenstein, Bavaria
52:Falkenstein, Bavaria
708:, pp. 383–395.
696:, pp. 378–382.
631:, pp. 374–375.
596:, pp. 371–373.
584:, pp. 367–370.
572:, pp. 363–366.
343:Covington, Kentucky
269:Frater Max Schmalzl
220:Italian Renaissance
196:priestly ordination
179:in September 1871.
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158:ecclesiastical art
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190:. He entered the
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66:(aged 79)
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242:Fra Angelico
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110:Redemptorist
106:Max Schmalzl
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64:(1930-01-07)
23:Max Schmalzl
808:1930 deaths
803:1850 births
737:Works cited
725:17 November
679:18 November
652:18 November
614:17 November
555:18 November
528:17 November
431:17 November
408:PreiĂźl 1990
262:reliquaries
188:Gars am Inn
113:lay brother
77:Nationality
70:Gars am Inn
48:7 July 1850
797:Categories
391:References
350:References
335:via crucis
285:Vilsbiburg
254:Regensburg
184:Gars Abbey
162:Deggendorf
44:1850-07-07
192:novitiate
134:Biography
85:Education
177:guilders
164:(1910).
125:Catholic
119:and the
117:Nazarene
91:, Munich
337:in the
333:Mosaic
128:missals
782:
345:(1919)
312:(1898)
173:Munich
121:Beuron
80:German
765:(PDF)
751:(PDF)
355:Notes
326:) in
310:Italy
780:ISBN
727:2017
681:2017
654:2017
616:2017
557:2017
530:2017
433:2017
328:Cham
306:Rome
59:Died
38:Born
341:in
244:".
186:in
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