Calvinism: Rejecting Strict Catholic Dogma

17th Century Portraits

Art that was produced in northern Europe in the 17th century quite different from the art in southern Europe. This difference was based on the fact that in northern Europe -- particularly in the Netherlands, Germany and Switzerland -- Calvinist approaches to Christianity were the rule. In southern Europe, particularly Italy and Spain, the Catholic Church still held sway, and painters tended to be loyal images that reflected Catholicism.

Why Catholicism was represented in 17th Century Italian Art

In response to the 16th century Protestant Reformation, the Roman Catholic Church launched the Counter-Reformation movement. Within that movement was the Council of Trent, which "…firmly resisted Protestant objections to using images in religious worship…" and art (Kleiner 2013). Author Kleiner writes that the Catholic Church was "…the leading art patron in 17th century Italy," and moreover the central point of much of Italian Baroque art was to "…restore Roman Catholicism's predominance and centrality" (Kleiner 559).

Author Beth Williamson explains that the character of Catholic and Protestant art "Became increasingly defined…" in the 17th century. In areas that had remained devoted to the "old faith" (Catholicism), Christian art was continually commissions as "…a powerful polemical weapon, promoting the Catholic view of Christianity" (Williamson, 2004). Among the artistic Christian images promoted by the Catholic Church -- which met with stern objections from Protestants -- was the "…continued and strengthened adherence to the Virgin Mary" (Williamson).

Protestants objected to various Catholic doctrines and dogmas associated with the Virgin Mary, her "Assumption and her Immaculate Conception"; also Protestants objected to representations to the "seven sacraments" -- with emphasis to the Eucharist (Williamson).

Why Dutch Art was different from Italian Art

In the 17th century the United Netherlands was heavily populated by Calvinists, and the religious attitudes of that era are "not readily apparent in the work of Dutch artists" (National Gallery of Art). However, great Dutch painters like Rembrandt did express morals and religious messages in art, but it was "…through concealed symbolism in landscapes, still-life paintings, and scenes of daily life" (National Gallery of Art). In fact Dutch painters reflected a theme that one didn't need to paint the Virgin Mary, or the Crucifixion, or other obvious iconic Christian images as the Italians did. That is because "God's work is evident in the world itself… [and] their paintings…provide reminders about the brevity of life and the need for moderation and temperance on one's conduct" (National Gallery of Art).

Emily Heersink writes in the scholarly publication put out by Western University in Ontario, Canada that the "…possession, patronage and enjoyment of art was democratized in the Netherlands" (Heersink 2011). Calvinism was the dominant religion in the Netherlands but there was no "imposed state religion" so artists had "an innovative stimulus" with regards to the production and discussion of art (Heersink 3). Moreover, in Italy and other southern European countries portraiture remained "primarily reserved for the nobility and the highest church officials"; but in the Netherlands, portraitures were available for ordinary citizens (Heersink 8). Hence, Dutch art has an appeal beyond the "self-important art commissioned by the pretentious patrons of princely courts and powerful priests" (Heersink 17).