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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.
During the Counter-Reformation period, Catholic art required portrayal of the suffering Savior that was more heroic and godly in appearance. Beside the interpretation of Christ's sacrifice, the Catholic Church during the Counter Reformation also required accurate depictions of biblical events such as the Life of the Virgin , the Life of Christ ...
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.
Ambrogio Figino, Portrait of St. Charles Borromeo (1585), Pinacoteca Ambrosiana, Milan. With the advent of the Council of Trent and the Counter-Reformation Church, ecclesiastical authorities exploited art as a means of spreading the new doctrines in opposition to Protestantism and other heresies; art was therefore subjected to strict canons and controls so that artists depicted episodes from ...
The purpose of the Counter Reformation was aimed at remedying some of the abuses challenged by the Protestants earlier in the century. [1] Within the church, a renewed Catholic culture was imposed on Italian society. It started with the Council of Trent, imposed by Pope Paul III, a commission of cardinals who came together to address issues of ...
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 ...
Barocci's embrace of the Counter Reformation would shape his long and fruitful career. By 1566, he joined a lay order of Capuchins, an offshoot of Franciscans. [5] He may have been influenced by Saint Philip Neri, whose Oratorians sought to reconnect the spiritual realm with the lives of everyday people.