Theatricality in Catholic and Protestant Baroque art of Northern Europe

Baroque art is synonymous with theatricality. Even the somberness of Protestant religious expression is imbued with emotionality on the canvas. Both Catholic and Protestant painting during the Baroque period exhibits a vibrant visceral character, a "dynamic composition," and also a "more naturalistic approach" than Renaissance art before it had ("Protestant Baroque"). However, the differences between Catholicism and Protestantism are reflected in their respective arts. Protestant art avoids the direct depiction of crucifixion scenes and other drama that is part and parcel of the Catholic Baroque visual arts. Catholic painting was largely commissioned by the Church, too, which gave rise to a collection of pieces that can be considered akin to religious propaganda. On the other hand, the rise of the middle class and the move away from religious patronage of the arts gave rise to a more pragmatic approach to painting that is quintessentially Protestant. The differences between Catholic and Protestant Baroque painting is especially evident in a comparison between Caravaggio's "The Crucifixion of Saint Peter" and Rembrandt's "The Return of the Prodigal Son."

Caravaggio's "The Crucifixion of Saint Peter" is a hyperrealistic rendition of the martyrdom of Saint Peter. With almost photographic clarity, Caravaggio depicts a moment of sheer pain not just for Peter but for the three men who carry him. All four of the figures featured on the canvas struggle, their muscles tensed. Caravaggio's realism enables the viewer to identify closely with the pain inherent in the painting. Saint Peter struggles against the nails that hold him to the crucifix; three Romans likewise struggle to lift up Saint Peter's crucifix to a vertical position.

The scene in "The Crucifixion of Saint Peter" is unabashedly theatrical. Filled with pathos, the crucifixion scene uses emotion much as an advertiser does to market products. After all, art was a primary propaganda tool for the Catholic Church especially as the Reformation took hold throughout Western Europe ("Baroque Art"). Propaganda is meaningless without emotionality. In this case, the Catholic message is transmitted easily on canvas via an intensely realistic pictorial style.

Caravaggio purposely imbues the canvas with light and shadow to highlight the intensity and pathos of the Biblical scene. The compositional structure is especially striking in "The Crucifixion of Saint Peter," in which an absolute cross is formed via the four figures plus the crucifix as a main axis. The eye is continually drawn back to the center point of the canvas, which is Saint Peter's torso. Caravaggio makes sure to shroud the faces of all three of the Romans as if to point out their relative insignificance. It is Saint Peter who is the highlight of the painting, and of the overall message of the Catholic Church. Saint Peter's white flesh stands out, especially against the darker background colors.

The Romans' body language as they carry Saint Peter is as unnatural as placing a man on a wooden cross. Caravaggio shows that the Romans' physical torment is qualitatively different than the spiritual struggles experienced by Saint Peter on the cross. Caravaggio's message is that Peter's pain is spiritual, whereas the Romans feel only physical pain. The painter also hints at the futility of the Romans' task. Especially the figure in the foreground appears to be contorting his body in ways that are unnatural, just so that he can prop up Saint Peter. Moreover, it takes three young men to lift up one old on. Any nonbeliever is expected to identify with the message inherent in the painting: that the spirit of God is with Saint Peter and the Catholic Church.

Rembrandt's "The Return of the Prodigal Son" is a far more stylized painting than that of Caravaggio. Instead of using dramatic realism, Rembrandt favors a softer and more subtle brushstroke. Thus, the five faces in "The Return of the Prodigal Son" are somewhat blurry. The overall effect is much more intimate and gentle than the brash and obvious messages in Caravaggio's work. Moreover, Rembrandt invites the viewer to contemplate the subject matter depicted in "The Return of the Prodigal Son." Caravaggio spells out emotion brashly on the canvas, whereas Rembrandt holds back.

Unlike "The Crucifixion of Saint Peter," the mood of Rembrandt's painting is somber and stoic. Emotions are kept in check, unlike in Caravaggio's "Saint Peter." All five of the figures in Rembrandt's painting appear contented, but not necessarily overjoyed. The Rembrandt painting lacks dramatic intensity compared with the overtly baroque Caravaggio. Yet still, Rembrandt does depict a New Testament scene just as Caravaggio does. Drama is not wholly absent from either canvas, but Caravaggio is certainly more theatrical.

The differences between Caravaggio's and Rembrandt's work are also noticeable in their subject matters. Caravaggio portrays the brutality of the Romans against the Christians, and highlights the faith and martyrdom of Saint Peter. On the other hand, Rembrandt depicts a more uplifting story. The prodigal son has just returned and he is warmly received by his father. Ironically, Rembrandt's color palette is dark, filled with rich earthy reds. Caravaggio's flesh tones are also much more realistic than those of Rembrandt. However, both artists rely heavily on light and shadow as well as skillful composition for visual impact.

Part of the reason for the dramatic intensity in Caravaggio's work compared with the sobriety in Rembrandt's is the nature of the stories they tell on canvas. This in turn reflects the different reasons each artist had for painting their respective works. For Caravaggio, being an artist entailed being practically an employee of the Catholic Church. Rembrandt built upon Caravaggio's style without inheriting sentiment for the Catholic Church. "The Dutch followers of Caravaggio had ensured that the thunderous use of light and shade and dramatic figures filling the picture surface had become familiar," ("Rembrandt van Rijn"). Yet the Protestant depictions of religious stories like those of Rembrandt come across as being more personal. Just as Martin Luther sparked a reaction against Church authority, Protestant artists denied Church control of art patronage.