PROVENANCE: F. W. Cosens, London; Sir F.T. Mappin, London, May 17, 1890; Christie's Sale, London, June 13, 1910; Central Picture Galleries, New York, 1970; BJU M&G, 1970.

Eyre Crowe's birth into a respected family in London, England, virtually destined him for success. His cousin was the novelist and art critic William Makepeace Thackeray; his father, Eyre Evans Crowe, a historian and foreign correspondent for the Morning Chronicle; and his brother, Sir Joseph Arthur Crowe, a famous art-historian and co-author of volumes on Flemish and Italian art with G. B. Cavalcaselle. He spent his early life in Paris, where he eventually began his training with the leading history painter, Paul Delaroche. He traveled to Rome with his teacher in 1843 and began a lifelong friendship with his fellow student Jean-Léon Gérôme. After his return to London in 1845, Crowe secured the affirmation of the artistic elite with his entrance into the Royal Academy. Most of his works are historical subjects, with a particular interest in notable 18 th -century figures like Samuel Johnson or Sir Joshua Reynolds. After visiting the United States , some of his paintings dealt with issues of contemporary society such as slave labor and factory working conditions.

After innovations by Benjamin West, British artists began using contemporary dress and environment rather than classical robes in history paintings. Crowe's depiction of Luther posting his theses clearly shows that he had embraced the trend, as taught by Paul Delaroche. Besides providing a faithful and accurate glimpse into 16 th -century Wittenberg, Crowe presents historical likenesses of a number of the key people of that time. John Tetzel, the Dominican monk who promoted the sale of indulgences, is on the horse at the left. Catherine von Bora, the nun who eventually married Luther, is in the right foreground grouping with Luther's father, mother, and sister. To the left of Catherine von Bora is Luther's artist friend Lucas Cranach.

Crowe places Luther in the strategically symbolic position between the throng of the common people on the right and the Catholic adherents to the left, illustrating the choice and contrast between a religion of works and tradition versus one of grace and Scripture alone. He is also placed in the intermediary position between the earthly throng below and the "heavenly" vaulting structure of the church above, showing his position of bringing God's truth to the people.