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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 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.
According to the great medievalist Émile Mâle, this was "the death of medieval art", [49] but it paled in contrast to the Iconclasm present in some Protestant circles and did not apply to secular paintings. Some Counter Reformation painters and sculptors include Titian, Tintoretto, Federico Barocci, Scipione Pulzone, El Greco, Peter Paul ...
Two decades after the fresco was completed, the final session of the Council of Trent in 1563 finally enacted a form of words that reflected the Counter-Reformation attitudes to art that had been growing in strength in the Church for some decades. The council's decree (drafted at the last minute and generally very short and inexplicit) reads in ...
The painting emphasis the aspect of Counter Reformation Catholicism. In the Co-redemptrix doctrine, the Virgin is a crucial figure. In the Co-redemptrix doctrine, the Virgin is a crucial figure. She shares the work of Redemption with her Son and participates in the divine task of saving humanity. [ 5 ]
[16] Identifying the "Christian woman" as the hitherto very obscure Irene came later, and was popularised by Cardinal Caesar Baronius (1538–1607), a leading historian of the church, and one of the writers telling Catholic artists what treatments were appropriate in Counter-Reformation art.
Michelangelo's Pietà (1498–1499), St. Peter's Basilica, Vatican City.. This Counter-Reformation painting – with a diagonal cascade of mourners and cadaver-bearers descending to the limp, dead Christ and the bare stone – is not a moment of transfiguration, but of mourning.
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 ...