In the XVI-XVII centuries, when the High Renaissance and Baroque were prospering in Europe, religion undeniably influenced the development of art. The religious upheavals greatly expanded the sphere, bringing many icons, altars, stained glass windows, and other art objects displaying religious motifs. In this paper, using the example of several specific pieces, it is discussed how religion was one of the key stimuli for the development of painting and was invested in the subtexts of many works.
Michelangelo’s Sistine Chapel Ceiling depicting stories from the book of Genesis is considered one of the greatest examples of Renaissance painting. It is divided into 33 sections, each of which is painted with different scenes. The plot of the book of Genesis is depicted in nine central fragments, while other spaces are occupied by the Old Testament scenes and depiction of the ancestors of Christ. Michelangelo originally conceived bright colors, but the shades faded and became darker after the restoration. The figures’ skin tones are pale peach, and the clothes are painted in pale pastel tones, which leaves a feeling of calm and grandeur. The ceiling of the Sistine This work primarily reflects Michelangelo as a deeply religious and devout man. The complex and unusual iconography is considered a Neoplatonic interpretation of the Bible, representing the main stages of the spiritual development of humanity and the dramatic relationship between man and God (Gilbert, 2022). To fill an almost unimportant ceiling space with such a painting demonstrated a deep respect for the religious motives of that time.
Isenheim Altarpiece by Grünewald was painted for the hospital chapel of the Monastery of St. Anthony in Isenheim. The painting was created five years before Luther nailed his Protestant theses to the doors of Wittenberg Cathedral in 1517, but it perfectly reflects the agony of the early 16th century. In this sense, Grunewald’s tortured masterpiece is the complete opposite of modern Italian works of the High Renaissance. While the crucifixion is gloomy, though deathly pale, the other panels are marked by Grunewald’s vibrant Renaissance color palette, as well as his unique images of the devil. The altarpiece challenges its viewer through its depression of the reality of suffering and makes them question how “good” can come out of it (Aramini, 2018). The religious subtext, focusing on the suffering and pain of Christ’s crucifixion, has a huge psychological impact on the viewer.
Four Apostles by Durer praises both the sustained style of art of the Northern Renaissance and the intense cultural significance of the Protestant Reformation. The picture, painted on two canvases, has many aspects of humanism, most noticeable in the expressions of the four apostles’ faces. John is looking intently at the Bible in his hands, and there is a thoughtful look in his eyes. Peter, standing behind him, looks at him suspiciously, as if he wants to question John’s motives or actions. On the right side of the painting, the Floor looks outward, as if into the eyes of the viewer. Behind him, Mark looks skeptically at Paul. Before Durer, there was no iconographic tradition for portraying these four biblical writers together. The emotions and expressions of these four figures are consistent with the humanistic influence of the Northern Renaissance. The picture is full of references to the Reformation, which Durer observed and followed, judging by his conversion to Protestantism.
The Calling of St. Matthew by Caravaggio depicts a moment from the Gospel when Jesus passes by Matthew, the tax collector, and orders him to follow, after which he made him one of his followers. Caravaggio conveys the sacred meaning of the scene through a series of informal images, where fashionably dressed assistants vividly contrast with the barefoot Christ. The artist’s contrast of light and shadow adds tragedy and gives the figures a quality of immediacy. They are immersed in shadow, and only the bright light falls on the wall and emphasizes St. Matthew and the sitting group. On closer inspection, the power of this silent but dramatic narrative lies in the fact that it captures the exact fraction of a second when the call of Christ hangs in the air. The painting reflects religious motives and reminds one of Christ’s plans that sinners need help, not the enlightened ones.
Elevation of the Cross by Rubens is a biblical depiction of the crucifixion of Christ following the specific guidelines in the field of art developed by the Trident Cathedral. The Catholic Reformation is the immediate social and religious context of this work. In addition to the powerful symbolic composition, the three panels are visually united by the landscape and the sky. The elevation of the altar cross was the first order that Rubens received after returning to Antwerp from his Italian stay, which is why there were many religious and Italian influences in work (Wilke, 2017). When this painting was commissioned, the Catholic Church embarked on a project to activate its mission to re-convert the masses to the saving work of Christ.
From all of the above, the historical events towards Reformation in churches radically influenced the increase in religious motives in art. The influence took place regardless of whether the artists worked under the patronage of the Catholic pope, whether they supported the Counter-Reformation program or created works of art under the influence of the Protestant Reformation. These sentiments left a clear mark on the paintings of the XVI and XVII centuries throughout Europe.
References
Aramini, J. (2018). Art in the Stages of Suffering and Death. Visual Arts Department Student Scholarship.
Gilbert, C. E. (2022).The ceiling of the Sistine Chapel.Britannica. Web.
Wilke, E. (2017). Good Friday – Elevation of the Cross by Rubens.ArtWay. Web.