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David Freedberg, "Painting and the Counter-Reformation", from the catalogue to The Age of Rubens, 1993, Boston/Toledo, Ohio, online PDF; Freedberg, Sydney J. Painting in Italy, 1500–1600, 3rd edn. 1993, Yale, ISBN 0300055870; James Hall, A History of Ideas and Images in Italian Art, 1983, John Murray, London, ISBN 0-7195-3971-4; Michalski ...
This is the period of the Counter-Reformation, and many images (including a fresco cycle in the Lateran Palace commissioned by Pope Sixtus V and designed by Giovanni Guerra and Cesare Nebbia) "proclaim her rhetorical appropriation by the Catholic or Counter-Reformation Church against the 'heresies' of Protestantism. Judith saved her people by ...
According to the great medievalist Émile Mâle, this was "the death of medieval art", [46] 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 ...
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.
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 ]
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 ...
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 ...
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]
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