Sarah Mitchell
The Protestant Reformation during the 16th century in Europe rejected Catholic art traditions, often destroying as much existing art as possible. This movement created a North-South divide in Europe, with Northern countries becoming predominantly Protestant and Southern countries remaining Catholic. Lutheranism, a branch of Protestantism that emerged during this time, accepted a limited role for larger works of art in churches and encouraged prints and book illustrations. Luther himself did not see religious art as inherently dangerous and advocated for the use of illustrations for didactic purposes. Lutheran artists like Lucas Cranach produced altarpieces to replace Catholic ones, often containing portraits of leading reformers. In contrast, the Catholic Church had been a significant commissioner of art, with artists like Michelangelo and Raphael working almost exclusively for the Papacy. The Church's art was designed to be intense, captivating, and ecstatic, evoking emotional responses from viewers. The Baroque era was the last time the Catholic Church had significant influence in the art world, as the rise of capitalism and modern industrial states reduced the Church's wealth and patronage power.
| Characteristics | Values |
|---|---|
| Catholic art | Used to be expensive |
| Lutheran art | Less expensive |
| Catholic art subjects | Jesus, Mary, saints, events in the Bible |
| Lutheran art subjects | Jesus, Bible stories, modern life |
| Catholic art style | Baroque, Renaissance |
| Lutheran art style | Prints, illustrations, allegories |
| Catholic art patronage | Reduced |
| Lutheran art patronage | N/A |
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What You'll Learn
The Catholic Church's role as a patron of the arts
The Catholic Church has played a significant role as a patron of the arts for centuries, with its influence and patronage shaping the development of Western art. The Church's role as a patron began as early as the 4th century, with the earliest surviving Catholic artworks found in the form of frescoes on the walls of catacombs and meeting houses of early Christians.
During the Baroque era, the Catholic Church reached the pinnacle of its influence in the art world, commissioning masterpieces by renowned artists such as Michelangelo, Raphael, and Bernini. This period witnessed the transformation of Catholic art, breaking free from traditional iconography and embracing artistic imperatives influenced by Renaissance humanism. The Church's patronage extended beyond visual art to include architecture, resulting in the construction of grand churches, monasteries, and convents across Catholic countries.
However, the Protestant Reformation in the 16th century brought about a significant shift in the Church's role as a patron. The Reformation, led by Martin Luther, challenged the power and practices of the Catholic Church, resulting in the emergence of Protestant churches that rejected Catholic artistic traditions. Luther advocated for a restricted range of religious imagery in churches, viewing his branch of the church as a continuation of the "ancient, apostolic church". This led to the destruction of Catholic art across northern Europe, with violent anti-Catholic crowds raiding and pillaging churches.
In response to the Reformation, the Catholic Church introduced a new set of guidelines for its artists during the Counter-Reformation. This style, later known as Baroque, emphasized intense and captivating art that evoked emotional responses from viewers. The Church's artistic programme was financed, in part, by indulgences, as noted by historians.
Despite the decline in its influence following the Baroque era, the Catholic Church has made recent efforts to rekindle its role as a patron of the arts. Popes Paul VI, John Paul II, and Benedict XVI have all reached out to contemporary artists, calling for a rapprochement between the Church and the art world. The Vatican has continued to acquire modern and contemporary artworks for its museums, signalling a continued interest in promoting and supporting the arts.
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The destruction of Catholic art during the Reformation
The Protestant Reformation of the 16th century in Europe witnessed a near-total rejection of the existing tradition of Catholic art, often destroying as much of it as possible. This movement resulted in a North-South divide in Europe, with Northern countries embracing Protestantism and the South largely remaining Catholic. The Reformation produced two main branches of Protestantism: the Evangelical Lutheran churches, which followed Martin Luther's teachings, and the Reformed Churches, adhering to the ideas of John Calvin and Huldrych Zwingli.
Lutheranism and Reformed Christianity held differing perspectives on religious imagery. Martin Luther, based in Germany, permitted and encouraged the display of a restricted range of religious imagery in churches, considering the Evangelical Lutheran Church a continuation of the ancient, apostolic church. Lutherans strongly defended their sacred art from Calvinist iconoclasm, and Luther himself opposed the destruction of religious images unless they were being worshipped. Lutheran churches accepted a limited role for larger artworks in churches and encouraged prints and book illustrations. Lutheran altarpieces, such as the Wittenberg Altarpiece and the Schneeberg Altarpiece, were produced to replace Catholic ones, often retaining the traditional depiction of Jesus.
In contrast, Calvinists staunchly opposed art in churches and were suspicious of small printed images of religious subjects, though they accepted secular images in their homes. Calvinist rulers and authorities attempted to impose their will on Lutheran populations during the "Second Reformation" of approximately 1560–1619. The Beeldenstorm, or "Iconoclastic Fury," was a significant wave of Calvinist mob destruction of Catholic images and church fittings that spread through the Low Countries in 1566, with far-reaching political repercussions. Similar patterns were observed in Anglican England, where more damage was inflicted on art in medieval parish churches than during the English Reformation, often with government encouragement or support.
The Catholic Counter-Reformation responded to Protestant criticisms of art in Roman Catholicism, leading to a more stringent style of Catholic art. The suppression of monasteries, which intensified under Catholic Enlightened despots like Joseph II of Austria, resulted in the display of Catholic religious art in public museums, altering the context in which these artworks were viewed.
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Luther's views on religious art
The Protestant Reformation during the 16th century in Europe almost entirely rejected the existing tradition of Catholic art, often destroying as much of it as possible. A new artistic tradition emerged, producing smaller quantities of art that followed Protestant agendas and diverged from southern European traditions and the humanist art of the High Renaissance. Lutheran churches accepted a limited role for larger works of art in churches, encouraged prints and book illustrations, and continued the use of the crucifix.
Martin Luther, the German ex-monk and theology professor who wrote the 95 Theses, did not share the iconoclastic tendencies of the Reformed and Radicals. He did not see religious art as inherently dangerous and advocated for the use of illustrations for didactic purposes. Luther allowed and encouraged the display of a restricted range of religious imagery in churches, seeing the Evangelical Lutheran Church as a continuation of the "ancient, apostolic church". He opposed the cults of saints that had developed, seeing them as much closer to pagan traditions than Christian ones.
Luther's views on art were given expression in the work of his friend Lucas Cranach the Elder, the Electoral Saxon court painter and Wittenberg entrepreneur. Cranach produced Lutheran altarpieces like the Last Supper, which replaced Catholic ones, retaining the traditional depiction of Jesus but often containing portraits of leading reformers as apostles or other protagonists. Lutheran worship thus became a "complex ritual choreography set in a richly furnished church interior". Both Cranachs painted allegorical scenes setting out Lutheran doctrines, in particular a series on Law and Gospel.
Lutheran places of worship contain images and sculptures of Christ, biblical figures, and occasionally other saints. They also feature prominent decorated pulpits, stained glass, ornate furniture, magnificent examples of traditional and modern architecture, carved or otherwise embellished altar pieces, and liberal use of candles. Lutheran artists have been freed to produce more and varied work, religious or secular, serving God in their vocation.
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The development of Lutheran art
The Protestant Reformation during the 16th century in Europe witnessed a near-total rejection of Catholic art traditions, with the destruction of Catholic artworks wherever they could be found. This movement sparked the development of a new artistic tradition, producing smaller quantities of art that adhered to Protestant ideologies. Lutheranism, one of the two main branches of Protestantism that arose from this period, held distinct views on the role of religious imagery in churches.
Martin Luther, the German theologian whose teachings formed the basis of Lutheranism, permitted and encouraged the display of a restricted range of religious images in churches. Lutherans viewed the Evangelical Lutheran Church as a continuation of the "ancient, apostolic church", and their acceptance of a limited role for larger artworks in churches set them apart from Calvinists, who opposed all art in churches. Lutheran worship thus became a "complex ritual choreography set in a richly furnished church interior".
Lutheran art during the Reformation took on specific characteristics. For a few years, Lutheran altarpieces like the Last Supper by Lucas Cranach the Younger were produced in Germany to replace Catholic ones. These works often contained portraits of leading reformers as apostles or other protagonists while retaining the traditional depiction of Jesus. Cranach's works also included symbolic juxtapositions of Luther preaching with baptism and communion, in contrast to the pope preaching with indulgences and money-counting. Lutheran doctrines were also conveyed through allegorical scenes, such as the series on Law and Gospel by both Cranach the Elder and the Younger.
In the centuries following the Reformation, the production of religious art in Catholic countries slowed noticeably. As Western countries transitioned into modern industrial states, the Catholic Church's role as a patron and promoter of art diminished, and the art market expanded. While the Church continued to acquire art and antiquities for its museums, its involvement in commissioning new art decreased significantly, especially in the first half of the 20th century. In contrast, artists in Protestant countries had long been accustomed to pursuing successful careers without relying on religious patronage.
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The Catholic Counter-Reformation's artistic response
The Baroque era was the last time the Catholic Church could throw its weight and money around in the art world. As Western countries transitioned into modern industrial states and adopted new economic models, the Vatican saw its role as a patron and promoter of art diminish. The rise of capitalism removed capital from the Church, as it circulated through the market instead. The Church's principal subject matter of Catholic art has been the life and times of Jesus Christ, along with people associated with him, including his disciples, the saints, and motifs from the Catholic Bible.
The Catholic Church has made small but significant efforts to rekindle its role as a patron. In 1964, Pope Paul VI called for a rapprochement between the Catholic Church and the art world to reinvigorate the rigid conventions of religious art. In 1999, Pope John Paul II seemed to advocate for an aesthetic of maximalism, hoping to inspire awareness of "the sacredness of life and of the human person". In 2009, Pope Benedict XVI reiterated the calls for artists, hosting more than 250 cultural figures beneath Michelangelo's famous Sistine Chapel frescoes.
The Catholic artistic response to the Protestant Reformation was not limited to the visual arts. Music and other art forms may also be included in the Catholic artistic response. The Gothic Revival, for example, was a return to Gothic-influenced forms in architecture, sculpture, and painting. Across the world, thousands of Gothic churches and cathedrals were produced in a new wave of church-building.
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Frequently asked questions
The Protestant Reformation during the 16th century in Europe almost entirely rejected the existing tradition of Catholic art, often destroying it. A new artistic tradition developed, producing smaller quantities of art that followed Protestant agendas. The Catholic Church responded to Protestant criticisms of its art, resulting in a more stringent style of Catholic art known as Baroque.
Lutheran churches accepted a limited role for larger works of art in churches and encouraged prints and book illustrations. Lutheran artists produced altarpieces that replaced Catholic ones, often containing portraits of leading reformers. Lutheran art tended to stay away from direct depictions of biblical figures.
Lutherans and Catholics had different views regarding religious imagery. Martin Luther allowed and encouraged the display of a restricted range of religious imagery in churches, seeing religious art as useful for didactic purposes. Catholics, on the other hand, believed that all religious issues were to be resolved through faith and not reason, leading to a more emotional and intense style of art.
