Catholic Counter-Reformation Art (1560 - 1700)

The Catholic Church had been set back on its heels by the Protestant Reformation -- the "16th-Century religious, political, intellectual, and cultural upheaval that splintered Catholic Europe" (history.com) -- and responded with the Council of Trent (1545 - 1563) and its decrees countering the Reformist agenda.

One of the areas addressed by the Council was art and its role in Catholic Christian life. The dominant style of art at that time was Mannerism but Catholic leaders found this style to be lacking in pious appeal. Religious art of the time, according to the Church:

• Had lost its focus on religious subject matter
• Was too much focused on decorative qualities 
• Was too influenced by classical pagan art.

Examples of this diminished focus on religious subjects, and elevation of style, are demonstrated in Parmigianino's Madonna of the Long Neck and Pontormi's The Deposition.

Madonna of the Long Neck
Parmigianino, 1530 - 33

The Deposition from the Cross
Jacopo Pontormi, 1525 - 28

Michelangelo's The Last Judgement "... came under persistent attack in the Counter-Reformation for, among other things, nudity (later painted over for several centuries), not showing Christ seated or bearded, and including the pagan figure of Charon" (Wikipedia).

The Last Judgment, 1534 - 41
Michelangelo

The interpretations of the art-related dictates issuing from the Council of Trent were as follows:

• Art was to be direct and compelling in its narrative presentation
• It was to provide an accurate presentation  of the biblical narrative of the saints' lives, rather than adding anecdotal and imaginary moments
• It was the duty of all painters to proclaim and explain the truths of the Catholic religion.

Scipione Pulzone's Lamentation was viewed as a work that gave "a clear demonstration of what the holy council was striving for in the new style of religious art ... the focus of the painting giving direct attention to the crucifixion of Christ, it complies with the religious content of the of the council and shows the story of the passion while keeping Christ in the image of the ideal human" (Wikipedia).

Lamentation, 1589
Scipione Pulzone

The Church, the newly formed Jesuits, and wealthy individuals began commissioning works to support this new direction and were provided strong support in Italy, Spain and its colonies (Flanders and Naples), and southern Germany. This new direction is reflected beginning with the efforts of the Bolognese School which itself became a forerunner of the Baroque. I will cover The Bolognese School in my next post on this topic.

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