The Counter-Reformation's Redefinition Of Italian Art

In the 16th and 17th centuries the Baroque style of art spread across Europe. Though each place had it's own specific take on the movement, all art became more dramatic and engaging. The style largely evolved because of the religious climate of the time. With the Reformation gaining strength, the Catholic church began the Counter-Reformation in Rome. The Counter-Reformation's redefinition of art's role in the churches was the strongest influence on Italian art as it developed into Baroque art. The Reformation began in 1517 when Martin Luther published his 95 theses in protest against the Catholic Church. The problems raised by Luther mainly targeted the absolute power of the priesthood. Church and state were mostly the same entity in pre-Reformation
However, in Medieval times, the paintings were flat, the figure's eyes looking at you, but not seeing you. Their stylized faces were austere and judgemental, and the gold background seemed to put the figures in a different dimension than the viewer. The purpose of art in Medieval churches is to intimidate the viewers into submission. As the Renaissance ran its course, the figures became more realistic, and the perspective and backgrounds led to paintings that were like 'windows on the world.' But the paintings are almost too perfect. The introduction of chiaroscuro leads to figures so lovely and idealized that they are also intimidating. The figures are usually involved in their own scene, not looking out to the viewers. Though these paintings inspire feelings of amazement and awe, they also create the feeling that you are, once again, below the venerated figures. The Reformation criticized this gap, and so the art of the Counter-Reformation takes a different approach. Rather than a window on the world, Baroque art attempts to be a doorway to the world. Standing by a painting creates feelings of amazement, but also makes it seem like you are a part of the scene, and on the same level as the figures within. The theme of involving the people in the church and in the art pieces really sets the course of the development of Baroque
This style, called naturalism, was also a strong theme in Hellenistic Greece. This meant that instead of idealized, beautiful people, the figures in the paintings were modelled after normal, everyday people. There were signs of age, wrinkles, imperfections. However, the content was still Saints and scripture stories. This made the acts of religious fervor performed in the scenes seem much more attainable, as the viewers identified with the portrayed figures. There are many examples of people who are portrayed with natural flaws. One extreme example of this technique is found in the Death of a Virgin by Caravaggio. The painting shows the death of Mary, mother of Jesus, a scene found in many churches. However, rather than show Mary as graceful or beautiful or include a secondary scene of her ascension to heaven, he portrays Mary as dead. The model for Mary was a dead prostitute, making the painting realistic in the color and state of the body. Though highly offensive to the church it was commissioned by, the idea of portraying things as they were in the every day was a powerful one in attempting to bring people to the church through art. The inclusive nature of Counter-Reformation art really emphasized the Naturalism of the Baroque