This Key Event Beginning in 1517 Changed the Shape of Religious Art in Europe

The Northern Renaissance

Earlier 1450, Renaissance humanism had footling influence outside Italy; after 1450, these ideas began to spread throughout Europe.

Learning Objectives

Depict how the Northern Renaissance differed from the Italian Renaissance

Key Takeaways

Key Points

• Humanism influenced the Renaissance periods in Federal republic of germany, France, England, kingdom of the netherlands, and Poland. There were also other national and localized movements, each with different characteristics and strengths.
• Northern painters in the 16th century increasingly looked to Rome for influence, and became known every bit the Romanists . The Loftier Renaissance art of Michelangelo and Raphael and the stylistic tendencies of Mannerism also had a dandy affect on their work.
• Although Renaissance humanism and the large number of surviving classical artworks and monuments in Italia encouraged many Italian painters to explore Greco-Roman themes, Northern Renaissance painters developed other subject matters, such every bit landscape and genre painting.

Cardinal Terms

• Romanists: A group of artists in the late 15th and early 16th century from the Netherlands who began to visit Italy and started to incorporate Renaissance influences in their work.
• Northern Renaissance: The Northern Renaissance describes the Renaissance equally it occurred in northern Europe.

The Northern Renaissance describes the Renaissance in northern Europe. Before 1450, Renaissance humanism had little influence exterior Italia; withal, subsequently 1450 these ideas began to spread beyond Europe. This influenced the Renaissance periods in Germany, French republic, England, the Netherlands, and Poland. There were also other national and localized movements. Each of these regional expressions of the Renaissance evolved with different characteristics and strengths. In some areas, the Northern Renaissance was distinct from the Italian Renaissance in its centralization of political power. While Italy and Frg were dominated past independent metropolis-states , parts of central and western Europe began emerging as nation-states. The Northern Renaissance was also closely linked to the Protestant Reformation , and the long serial of internal and external conflicts betwixt various Protestant groups and the Roman Catholic Church had lasting furnishings.

Equally in Italy, the decline of feudalism opened the style for the cultural, social, and economic changes associated with the Renaissance in northern Europe. Northern painters in the 16th century increasingly looked to Rome for influence, and became known equally the Romanists. The High Renaissance art of Michelangelo and Raphael and the stylistic tendencies of Mannerism had a significant impact on their work. Although Renaissance humanism and the large number of surviving classical artworks and monuments in Italy encouraged many Italian painters to explore Greco-Roman themes, Northern Renaissance painters developed other subject matters, such as landscape and genre painting.

Danae by January Mabuse: Ane of the nigh well-known Romanists was January Mabuse. The influence of Michelangelo and Raphael showed in the use of mythology and nudity in this item piece.

As Renaissance fine art styles moved through northern Europe, they were adjusted to local customs. For example, in England and the northern Netherlands, the Reformation nearly ended the tradition of religious painting. In France, the School of Fontainebleau, which was originally founded past Italians such as Rosso Fiorentino, succeeded in establishing a durable national mode. Finally, by the end of the 16th century, artists such equally Karel van Mander and Hendrik Goltzius collected in Haarlem in a brief but intense phase of Northern Mannerism that besides spread to Flanders .

Impact of the Protestant Reformation

The Reformation was a religious movement in the 16th century that resulted in the theological divide between Roman Catholics and Protestants.

Learning Objectives

Describe the Protestant Reformation and its effects on Western European art of the 16th century

Central Takeaways

Central Points

• Art that portrayed religious figures or scenes followed Protestant theology by depicting people and stories accurately and clearly and emphasized conservancy through divine grace, rather than through personal deeds, or by intervention of church building bureaucracy.
• Reformation art embraced Protestant values , although the amount of religious art produced in Protestant countries was hugely reduced. Instead, many artists in Protestant countries diversified into secular forms of art like history painting , landscapes, portraiture, and notwithstanding life .
• The Protestant Reformation induced a wave of iconoclasm , or the destruction of religious imagery , among the more radical evangelists.

Fundamental Terms

• Protestant Reformation: The 16th century schism inside Western Christianity initiated past Martin Luther, John Calvin, and other early on Protestants; characterized past the objection to the doctrines, rituals, and ecclesiastical structure of the Roman Catholic Church and led to the creation of Protestant churches, which were outside of the control of the Vatican.
• iconoclasm: The conventionalities in, participation in, or sanction of destroying religious icons and other symbols or monuments, usually with religious or political motives.

The Protestant Reformation and Art

The Protestant Reformation was a religious movement that occurred in Western Europe during the 16th century that resulted in the theological split between Roman Catholics and Protestants. This movement created a North-S dissever in Europe, where generally Northern countries became Protestant, while Southern countries remained Catholic. Protestant theology centered on the individual relationship betwixt the worshiper and the divine, and accordingly, the Reformation's artistic motion focused on the private's personal human relationship with God. This was reflected in a number of mutual people and mean solar day-to-day scenes depicted in art.

The Reformation ushered in a new creative tradition that highlighted the Protestant belief system and diverged drastically from southern European humanist art produced during the Loftier Renaissance . Reformation art embraced Protestant values, although the corporeality of religious fine art produced in Protestant countries was hugely reduced (largely considering a huge patron for the arts—the Catholic Church building—was no longer active in these countries). Instead, many artists in Protestant countries diversified into secular forms of art similar history painting, landscapes, portraiture, and still life.

Art that portrayed religious figures or scenes followed Protestant theology past depicting people and stories accurately and clearly and emphasized salvation through divine grace, rather than through personal deeds, or by intervention of church building hierarchy. This is the directly influence of one major criticism of the Catholic Church during the Reformation—that painters created biblical scenes that strayed from their true story, were hard to identify, and were embellished with painterly effects instead of focusing on the theological message. In terms of field of study matter, iconic images of Christ and scenes from the Passion became less frequent, as did portrayals of the saints and clergy. Instead, narrative scenes from the Bible and moralistic depictions of modernistic life became prevalent.

The Protestant Reformation also capitalized on the popularity of printmaking in northern Europe. Printmaking allowed images to be mass produced and widely bachelor to the public at low cost. The Protestant church building was therefore able to bring their theology to the people through portable, cheap visual media . This allowed for the widespread availability of visually persuasive imagery. With the great development of the engraving and printmaking marketplace in Antwerp in the 16th century, the public was provided with accessible and affordable images. Many artists provided drawings to book and print publishers.

Iconoclasm and Resistance to Idolatry

All forms of Protestantism showed a degree of hostility to religious images, especially sculpture and large paintings, considering them forms of idol worship. After the early years of the Reformation, artists in Protestant areas painted far fewer religious subjects for public display, partly because religious fine art had long been associated with the Cosmic Church. Although, in that location was a witting endeavour to develop a Protestant iconography of Bible images in volume illustrations and prints. During the early Reformation, some artists made paintings for churches that depicted the leaders of the Reformation in means very similar to Catholic saints. Later, Protestant taste turned away from the display of religious scenes in churches, although some continued to be displayed in homes.

In that location was likewise a reaction against images from classical mythology, the other manifestation of the Loftier Renaissance at the time. This brought about a mode that was more direct related to accurately portraying the present times. For example, Bruegel's Wedding Feast portrays a Flemish-peasant wedding dinner in a barn. It makes no reference to any religious, historical, or classical events, and merely gives insight into the everyday life of the Flemish peasant.

Bruegel's Peasant Hymeneals : Bruegael'due south Peasant Nuptials is a painting that captures the Protestant Reformation artistic tradition: focusing on scenes from modernistic life rather than religious or classical themes.

The Protestant Reformation induced a wave of iconoclasm, or the destruction of religious imagery, among the more radical evangelists. Protestant leaders, specially Huldrych Zwingli and John Calvin, actively eliminated imagery from their churches and regarded the great majority of religious images as idolatrous—even plain crosses. On the other hand, Martin Luther encouraged the display of a restricted range of religious imagery in churches. For the nigh part, however, Reformation iconoclasm resulted in a disappearance of religious figurative art, compared with the corporeality of secular pieces that emerged.

Iconoclasm: Cosmic Chantry Piece: Altar piece in St. Martin'southward Cathedral, Utrecht, attacked in the Protestant iconoclasm in 1572. This retable became visible once again afterward restoration in 1919 removed the fake wall placed in front of it.

Antwerp: A Center of the Northern Renaissance

Antwerp, located in Belgium, was a center for fine art in holland and northern Europe for much of the 16th and 17th centuries.

Learning Objectives

Describe the characteristics of Antwerp Mannerism

Central Takeaways

Primal Points

• The Antwerp Schoolhouse for painting flourished during the 16th and 17th centuries. The Antwerp School comprised many generations of artists and is known for portraiture, brute paintings, even so lifes, and prints.
• Antwerp Mannerism bore no relation to Renaissance Mannerism, but the proper name suggests a reaction to the "archetype" style of the before Flemish painters. Although attempts accept been made to place individual artists, most paintings remain attributed to bearding masters.
• Antwerp was an internationally meaning publishing center, with prodigious production of erstwhile chief prints and book illustrations. Furthermore, Antwerp animaliers, or creature painters, such as Frans Snyders, Jan Fyt, and Paul de Vos, dominated brute painting in Europe.

Cardinal Terms

• Antwerp School: The Antwerp Schoolhouse is a term for the artists active in Antwerp, first during the 16th century when the city was the economical center of the Depression Countries, and and then during the 17th century when information technology became the artistic stronghold of the Flemish Baroque under Peter Paul Rubens.
• Antwerp: A province of Flanders, Kingdom of belgium.

Antwerp, located in present-mean solar day Belgium, was a center for fine art in kingdom of the netherlands and northern Europe for much of the 16th and 17th centuries. The so-chosen Antwerp Schoolhouse for painting flourished during the 16th century when the city was the economic center of the Low Countries, and again during the 17th century when information technology became the creative stronghold of the Flemish Baroque . The Antwerp School comprised many generations of artists and is known for portraiture, animal paintings, nonetheless lifes, and prints.

Antwerp became the principal trading and commercial heart of the Low Countries effectually 1500, and the heave in the economy attracted many artists to the cities to join craft guilds . For case, many 16th century painters, artists, and craftsmen joined the Guild of Saint Luke, which educated apprentices and guaranteed quality. The first school of artists to emerge in the urban center were the Antwerp Mannerists , a grouping of anonymous late Gothic painters agile in the urban center from virtually 1500 to 1520.

Antwerp Mannerism bore no direct relation to Renaissance or Italian Mannerism, but the proper noun suggests a style that was a reaction to the "classic" style of the before Flemish painters. Although attempts accept been fabricated to identify private artists, most paintings remain attributed to anonymous masters. Characteristic of Antwerp Mannerism are paintings that combine early Netherlandish and Northern Renaissance styles, and incorporate both Flemish and Italian traditions into the same compositions . Practitioners of the way frequently painted subjects such equally the Adoration of the Magi and the Nativity, both of which are more often than not represented as nighttime scenes, crowded with figures and dramatically illuminated. The Adoration scenes were particularly popular with the Antwerp Mannerists, who delighted in the patterns of the elaborate dress worn by the Magi and the decoration of the architectural ruins in which the scene was set.

The Adoration of the Kings past Jan Gossaert: This painting captures the Antwerp Mannerist tradition of using religious themes, particularly the Admiration of the Magi, for inspiration.

The iconoclastic riots ("Beeldenstorm" in Dutch) of 1566 that preceded the Dutch Defection resulted in the devastation of many works of religious art , after which time the churches and monasteries had to exist refurnished and redecorated. Artists such as Otto van Veen and members of the Francken family, working in a tardily Mannerist style, provided new religious decoration. These also marked the beginning of economic turn down in the city, as the Scheldt river was blockaded by the Dutch Republic in 1585 and trade restricted.

The city experienced an artistic renewal in the 17th century. The large workshops of Peter Paul Rubens and Jacob Jordaens, along with the influence of Anthony van Dyck, fabricated Antwerp the center of the Flemish Baroque. The urban center was an internationally meaning publishing center, with prodigious production of old master prints and book illustrations. Furthermore, Antwerp animaliers or brute painters, such as Frans Snyders, Jan Fyt ,and Paul de Vos, dominated animal painting in Europe for at least the kickoff half of the century. Only as the economic system connected to decline, and the Habsburg dignity and the Church reduced their patronage , many artists trained in Antwerp left for the Netherlands, England, France, or elsewhere. By the cease of the 17th century, Antwerp was no longer a major artistic center.

Hunting Trophies: January Fyt, a member of the Antwerp School, was well known for the use of animal motifs in his paintings.

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Source: https://courses.lumenlearning.com/boundless-arthistory/chapter/the-northern-renaissance/