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Mayor, A. Hyatt, "The Art of the Counter Reformation." The Metropolitan Museum of Art Bulletin 4 (1945). Silver, Larry. Peasant Scenes and Landscapes: the Rise of Pictorial Genres in the Antwerp Art Market. Philadelphia: University Pennsylvania P, 2006. Wisse, Jacob. "The Reformation." In Timeline of Art History. New York: The Metropolitan ...
The painting expresses the basic tenets of the Counter Reformation through the figures of the Virgin and saints. In the upper niche of the retable is a marble statue depicting the Virgin as the Mater Dolorosa whose heart is pierced by a sword, which was likely sculpted by Lucas Faydherbe , a pupil of Rubens.
By painting The Feast in the House of Levi in this manner, Veronese had gone against the Council of Trent, which had been created as part of the Counter-Reformation. [10] The decrees of the Council of Trent included (at the very last minute) brief and vague rules for religious artworks, [ 11 ] which were then codified and amplified by a number ...
Caravaggio's painting is a visual counterpart to the Mass, with the priest raising the newly consecrated host with the Entombment as a backdrop. The privileged placement of the altar would have meant that this was a daily occurrence; the act perfectly juxtaposing the body in the picture with the host as the priest intones "This is my very body."
Law and Gospel (or Law and Grace) is one of a number of thematically linked, allegorical panel paintings by Lucas Cranach the Elder from about 1529. The paintings, intended to illustrate Lutheran ideas of salvation, are exemplars of Lutheran Merkbilder , [ 1 ] which were simple, didactic illustrations of Christian doctrine.
Detailed image of the central piece of altar. As in almost all cases of Cranach Post-Reformation altarpieces, there is also a great deal of Christocentric Lutheran symbolism, Christian allegory and Protestant theological concept of Five solas depicted in the Weimar altarpiece, with each image referring to salvation alone in Jesus, emphasizing the sacrifice of Jesus in Solus Christus.
Il Gesù was the first of many Counter-Reformation churches built in Rome; serving as the mother church of the new Jesuit order. Designed by Giacomo Barozzi da Vignola, the church of Il Gesù soon became the prototype for the Baroque churches that the Jesuit order built or rebuilt during the Counter-Reformation era. [4]
The Wittenberg altarpiece is a visualization of several major principles of the Protestant Reformation, and serves as a portrayal of Lutheran sacramental theology. On the front, the middle panel and the inner two wings depict the three sacraments recognized by Luther, namely the Baptism, Eucharist and Absolution.