Monday, March 23rd, 2009
Indulgences and Baroque Art
A recent article in the New York Times caught my attention: Catholic indulgences are back.
Indulgences are an interesting topic in the history of art, particularly because the initial selling of indulgences brought about the Protestant Reformation. Martin Luther was discontented with the Catholic church for many reasons, including the selling of indulgences. In 1517, he wrote 95 theses which outlined his discontent with the Catholic church. He nailed a copy of these theses onto the door of the Wittenburg church.
To retaliate against the Reformation, the Catholic church began the Counter-Reformation movement. It was hoped that the Catholics could reconvert any souls who had fallen astray to Protestant paths. The Counter-Reformation also allowed the church to defend itself against Luther’s criticisms. The Council of Trent was organized to help the church define the doctrines of the church and also rebuttal Protestant heresies. Also, the Council of Trent stipulated the purpose of art within the Church; these stipulations served as an outline for much of the art produced during the Baroque period.
I love Counter-Reformation (Southern Baroque) art because it is so propagandistic. The art and architecture is dramatic and emotional to help facilitate the process of reconversion. Here are a three of my favorite propagandistic pieces:
To promote reconversion during the Counter-Reformation, there are many Baroque paintings which touch on this theme. I especially like Caravaggio’s painting of The Conversion of St. Paul (1600-1601). This painting is on the wall of the Cerasi Chapel (Santa Maria del Popolo, Rome), and the viewer of the painting is practically standing underneath Paul’s head. The painting is composed dramatically, with Paul’s foreshortened body pushed to the edge of the foreground; it is as if Paul’s body is about to spill out of the picture and land on top of the viewer beneath! Other dramatic elements, such as the tenebristic lighting (violent contrasts between light and dark) grab the viewer’s attention. Dramatic paintings intended to catch the viewer’s attention and evoke an emotional response that would help facilitate piety and reconversion.
Bernini’s Ecstasy of St. Theresa (1645-52) is also located in a chapel (Cornaro Chapel, Santa Maria della Vittoria, Rome). Oh man, there is so much to say in regards to this sculpture and propaganda. Once again, this sculpture propagandistically depicts a moment of conversion. After Theresa’s father died, she fell into a series of visions and trances. At this time, a fire-tipped arrow of Divine love was repeatedly pierced into Theresa’s heart by an angel. St. Theresa described this “experience as making her swoon in delightful anguish.”1 The dramatic quality of this sculpture is captured in the movement of Theresa’s heavy drapery. The drapery folds and falls around her body in a very energetic way, as if it has a life of its own. I also love the dark shadows that are created by the drapery folds. The contrast of the dark shadows and light marble reminds me of the tenebristic lighting that Caravaggio used in his paintings. The dramatic nature of this sculpture is enhanced because of its location; the niche of the chapel is crowned with a stage-like pediment and marble columns.
What do people think about art and propaganda? Any thoughts on the return of indulgences? What Counter-Reformation works of art do you like?
1 Fred S. Kleiner and Christin J. Mamiya, Gardner’s Art Through the Ages, 12th ed., vol. 2 (Belmont, CA: Wadsworth, 2005), 696.