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Fifteenth-century Protestant iconoclasm had various effects on visual arts: it encouraged the development of art with violent images such as martyrdoms, of pieces whose subject was the dangers of idolatry, or art stripped of objects with overt Catholic symbolism: the still life, landscape and genre paintings.
Byzantine Iconoclasm, Chludov Psalter, 9th century. [10]Christian worship by the sixth century had developed a clear belief in the intercession of saints. This belief was also influenced by a concept of hierarchy of sanctity, with the Trinity at its pinnacle, followed by the Virgin Mary, referred to in Greek as the Theotokos ("birth-giver of God") or Meter Theou ("Mother of God"), the saints ...
Yoruba Iconoclasm began in the 20th century. In the Yoruba context, objects are usually destroyed for religious reasons, with the widespread adoption of Christianity by Yoruba people after British colonization in the 1900s leading to the notion that native Yoruba artworks are icons that need to be destroyed. In recent times, this view of ...
Print of the destruction in the Church of Our Lady in Antwerp, the "signature event" of the Beeldenstorm, 20 August 1566, by Frans Hogenberg [1]. Beeldenstorm (pronounced [ˈbeːldə(n)ˌstɔr(ə)m]) in Dutch and Bildersturm [ˈbɪldɐˌʃtʊʁm] in German (roughly translatable from both languages as 'attack on the images or statues') are terms used for outbreaks of destruction of religious ...
Only in the 15th century did production of painted works of art begin to approach Eastern levels, supplemented by mass-produced imports from the Cretan School. In this century, the use of icon-like portraits in the West was enormously increased by the introduction of old master prints on paper, mostly woodcuts which were produced in vast ...
During the second period of Byzantine iconoclasm, Emperor Leo V the Armenian overtured Nicaea II and reinstated Hieria. However, rather than regarding icons as idolatrous, they were merely considered superfluous, and images that were suspended high up (which could not therefore be actively venerated) were not removed.
It is a unique monument of Byzantine art at the time of the Iconoclasm, one of only three illuminated Byzantine Psalters to survive from the 9th century. According to one tradition, the miniatures are supposed to have been created clandestinely, and many of them are directed against Iconoclasts.
A key act of iconoclasm during this period was the removal of the statue of Louis XIV from Place Des Victoires. Louis XIV was king of France from 1643 until 1715, making his 72-year reign the longest of any sovereign. [5] His rule embodied the European Age of Absolutism, a period characterized by unchecked monarchical power. Thus, the removal ...