Unleashed in the early sixteenth century, the Reformation put an abrupt end to the relative unity that had existed for the previous thousand years in Western Christendom under the Roman Catholic Church. The Reformation, which began in Germany but spread quickly throughout Europe, was initiated in response to the growing sense of corruption and administrative abuse in the church. It expressed an alternate vision of Christian practice, and led to the creation and rise of Protestantism, with all its individual branches. Images, especially, became effective tools for disseminating negative portrayals of the church (Satire on Popery, 53.677.5), and for popularizing Reformation ideas; art, in turn, was revolutionized by the movement.
Though rooted in a broad dissatisfaction with the church, the birth of the Reformation can be traced to the protests of one man, the German Augustinian monk Martin Luther (1483–1546) (Martin Luther as a Monk, 20.64.21; Martin Luther, 55.220.2). In 1517, he nailed to a church door in Wittenberg, Saxony, a manifesto listing 95 arguments, or Theses, against the use and abuse of indulgences, which were official pardons for sins granted after guilt had been forgiven through penance. Particularly objectionable to the reformers was the selling of indulgences, which essentially allowed sinners to buy their way into heaven, and which, from the beginning of the sixteenth century, had become common practice. But, more fundamentally, Luther questioned basic tenets of the Roman Church, including the clergy’s exclusive right to grant salvation. He believed human salvation depended on individual faith, not on clerical mediation, and conceived of the Bible as the ultimate and sole source of Christian truth. He also advocated the abolition of monasteries and criticized the church’s materialistic use of art. Luther was excommunicated in 1520, but was granted protection by the elector of Saxony, Frederick the Wise (1463–1525) (46.179.1), and given safe conduct to the Imperial Diet in Worms and then asylum in Wartburg.
The movement Luther initiated spread and grew in popularity—especially in Northern Europe, though reaction to the protests against the church varied from country to country. In 1529, the Holy Roman Emperor Charles V tried, for the most part unsuccessfully, to stamp out dissension among German Catholics. Elector John the Steadfast (1468–1532) (46.179.2), Frederick’s brother and successor, was actively hostile to the emperor and one of the fiercest defenders of Protestantism. By the middle of the century, most of north and west Germany had become Protestant. King Henry VIII of England, who had been a steadfast Catholic, broke with the church over the pope’s refusal to annul his marriage to Catherine of Aragon, the first of Henry’s six wives. With the Act of Supremacy in 1534, Henry was made head of the Church of England, a title that would be shared by all future kings. John Calvin’s Institutes of the Christian Religion (1536) codified the doctrines of the new faith, becoming the basis for Presbyterianism. In the moderate camp, Desiderius Erasmus of Rotterdam (ca. 1466–1536), though an opponent of the Reformation, remained committed to the reconciliation of Catholics and Protestants—an ideal that would be at least partially realized in 1555 with the Religious Peace of Augsburg, a ruling by the Diet of the Holy Roman Empire granting freedom of worship to Protestants.
With recognition of the reformers’ criticism and acceptance of their ideology, Protestants were able to put their beliefs on display in art (Christ Blessing, Surrounded by a Donor and His Family, 17.190.13-15). Artists sympathetic to the movement developed a new repertoire of subjects, or adapted traditional ones, to reflect and emphasize Protestant ideals and teaching (Christ and the Adulteress, 1982.60.35; Christ Blessing the Children, 1982.60.36; The Calling of Matthew, 71.155; The Last Supper, 1975.1.1915). More broadly, the balance of power gradually shifted from religious to secular authorities in western Europe, initiating a decline of Christian imagery in the Protestant Church. Meanwhile, the Roman Church mounted the Counter-Reformation, through which it denounced Lutheranism and reaffirmed Catholic doctrine. In Italy and Spain, the Counter-Reformation had an immense impact on the visual arts; while in the North, the sound made by the nails driven through Luther’s manifesto continued to reverberate.
Wisse, Jacob. “The Reformation.” In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000–. http://www.metmuseum.org/toah/hd/refo/hd_refo.htm (October 2002)
Coulton, G. G. Art and the Reformation. 2d ed. Cambridge: Cambridge University Press, 1953.
Koerner, Joseph Leo. The Reformation of the Image. Chicago: University of Chicago Press, 2004.