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The Protestant Reformation during the 16th century in Europe almost entirely rejected the existing tradition of Catholic art, and very often destroyed as much of it as it could reach. A new artistic tradition developed, producing far smaller quantities of art that followed Protestant agendas and diverged drastically from the southern European ...
The Candle is Lighted, We Can Not Blow it Out refers to a series of engravings featuring a set of Protestant reformers seated around a candle on a table. The central figure is Martin Luther, surrounded by both contemporary and historical Protestant reformers. Opposite him is a group of Catholics trying to blow the candle out.
During these spates of iconoclasm, Catholic art and many forms of church fittings and decoration were destroyed in unofficial or mob actions by Calvinist Protestant crowds as part of the Protestant Reformation. [3] [4] Most of the destruction was of art in churches and public places. [5] Protestant polemical print celebrating the destruction, 1566
Lutheran art consists of all religious art produced for Lutherans and the Lutheran churches.This includes sculpture, painting, and architecture. Artwork in the Lutheran churches arose as a distinct marker of the faith during the Reformation era and attempted to illustrate, supplement and portray in tangible form the teachings of Lutheran theology.
Pre-Reformation images could bestow merit upon the beholder and frequently became the objects of veneration themselves. The varied origins and functions of art before the Reformation offered a considerable amount of interpretive freedom to the beholder, a freedom that Lutheran views on images vehemently endeavored to curtail.
Protestant religious art, mainly in the form of illustrations of biblical events, continued in printmaking and in book illustrations, for example in the etchings of Rembrandt (1606–1669), who also painted biblical subjects. In the early stages of the Reformation, Protestant propagandists made vigorous use of images satirizing their opponents.
The Last Supper was also one of the few subjects to be continued in Lutheran altarpieces for a few decades after the Protestant Reformation, sometimes showing portraits of leading Protestant theologians as the apostles. [4] By the Renaissance, the Last Supper was a popular subject in Italian art, especially in the refectories of
New York: The Metropolitan Museum of Art. Sören Fischer (2017): Gesetz und Gnade: Wolfgang Krodel d. Ä., Lucas Cranach d. Ä. und die Erlösung des Menschen im Bild der Reformation, Kleine Schriften der Städtischen Sammlungen Kamenz (in German), Band 8, Kamenz 2017, ISBN 978-3-910046-66-5; Guido Messling, Kerstin Richter (Eds.): Cranach.
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