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The Jesuits' impact was so profound during their missions of the time that today very similar styles of art from the Counter-Reformation period in Catholic Churches are found all over the world. Despite the differences in approaches to religious art, stylistic developments passed about as quickly across religious divisions as within the two ...
The goal of much art in the Counter-Reformation, especially in the Rome of Bernini and the Flanders of Peter Paul Rubens, was to restore Catholicism's predominance and centrality. This was one of the drivers of the Baroque style that emerged across Europe in the late sixteenth century.
The movement is often identified with Absolutism, the Counter Reformation and Catholic Revival, [1] [2] but the existence of important Baroque art and architecture in non-absolutist and Protestant states throughout Western Europe underscores its widespread popularity. [3]
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]
Baroque architecture first appeared in the late 16th and early 17th century in religious architecture in Rome as a means to counter the popular appeal of the Protestant Reformation. It was a reaction against the more severe and academic earlier style of earlier churches, it aimed to inspire the common people with the effects of surprise ...
His unique and immensely popular Baroque style emphasised movement, colour, and sensuality, which followed the immediate, dramatic artistic style promoted in the Counter-Reformation. Rubens was a painter producing altarpieces, portraits, landscapes, and history paintings of mythological and allegorical subjects.
Painted for the Arquebusiers' guild, the Descent from the Cross triptych (1611–14; Cathedral of Our Lady, Antwerp)—with side wings depicting the Visitation and Presentation in the Temple, and exterior panels showing St. Christopher and the Hermit—is an important reflection of Counter-Reformation ideas about art combined with Baroque ...
During the Counter Reformation, the Council of Trent (1545–63), in which the Roman Catholic Church answered many questions of internal reform raised by both Protestants and by those who had remained inside the Catholic Church, addressed the representational arts in a short and somewhat oblique passage in its decrees.