Art as Propaganda - Religion and the Visual Arts - Essay Example

Baroque Art Art as Propaganda: Religion and the Visual Arts Art has been associated with propaganda, especially religious propaganda. They are social commentary images that try to persuade people towards a particular viewpoint. For example, such forms of art were used in the exploration and colonization of the New World where religious doctrines and viewpoints were demonstrated through visual arts. Reformations and counter-reformations were also demonstrated in several parts of Europe through visual arts where each religion and belief propagates its own ideologies. Visual art is also used to serve a purpose that people approve of, which leads to reformation, and to serve a purpose which people disapprove of. Visual images of this type are used to convince people to follow leaders, accept beliefs, and take actions. Religious artists act as social commentators who create awareness of human condition based on their perceptions (Carl and Charles 89). Therefore, they use visual arts to suggest particular actions or persuade people to accept certain religious beliefs. In the New World, The Spaniards used visual arts to propagate Christian beliefs and suggest actions (De Las Casas 12). The Indians were murdered and executed in wars by the Spaniards who were proclaiming their Christian beliefs. These actions are demonstrated through visual arts such as gibbets. The Baroque Aesthetic – DECCO The Baroque is an artistic style developed in Rome, Italy to demonstrate clear but exaggerated emotion, contrast, complexity, drama and ornamentation (DECCO) in painting, architecture, literature, dance, and other forms of art. The Catholic Church adopted the style and spread it across Europe in the 17th century (Carl and Charles 78). The church responded to the Christian Reformation which required that religious themes should be communicated through art. This included emotional involvement and illustration of power and control. Reformation demonstrates the lifestyle and beliefs of people. Baroque art was also tied to counter-reformation which demonstrates emotionality of the Catholic Church and glorification of the church and the Monarch. St. Jerome is also an example of the Catholic inspiration. He is represented in art wandering in the Syrian Desert (Carl and Charles 192). The religious writings of St. Jerome are also demonstrated in art to show his inspiration in the Catholic Church. For example, Jacopo Palma Giovane made a sculpture of St. Jerome reading the scripture and demonstrating with hands (Anstis 214). This shows emotions associated with reading and reciting the scriptures. St. Jerome by Jacopo Giovane In the Spanish colonization and exploration of the New World, the Spaniards used drama and emotion in most cases to propagate their barbaric actions of blasphemous Christianity. They hanged people in gibbets, snatched babies from their mothers and killed them, and executed mass murders of Indians everywhere in the New World. The practices of the Spaniards in America were praised and reverenced in the Holy Catholic Faith (De Las Casas 15). The drama, emotion, contrast and complexity of the practices demonstrated the actions as visual art performances that propagated the ambitions of Spaniards. According to de las casas, Christian Spaniards destroyed infinite number of souls to enrich themselves with Gold from the Indians. Catholic Baroque Art The Catholic Church adopted the Baroque art as a means of Christian reformation to communicate religious themes in an emotional and dramatic manner. The Catholic Church considered the Baroque art as a means of expressing triumph and creating a good impression of the Christian religion to visitors (Carl and Charles 98). The Catholic Church demonstrates its teachings through tangible forms of visual arts, including paintings, sculpture, metalwork, embroidery, and architecture. One of the outstanding features of the Catholic Baroque art is the direct and dramatic fashion of illustrating subjects. The subjects of Baroque art were chosen widely to find new and dramatic biblical episodes from the lives of Saints of the Catholic Church. Simplicity of the Catholic Baroque art reduced in the 17th century in France and Spain, but the drama remained (Carl and Charles 43). Therefore, the Catholic Baroque art became dramatic and complex as civilization evolved. The Catholic Baroque art was seen through painting, architecture and sculpture as demonstrated by the painting of Caravaggio and Cortona which depict emotion and dynamism in different styles. Baroque art was also produced through sculpture. Examples of Artists and their Visual Arts El Greco El Greco was a nickname given to Domenikos Theotokopoulos, a Greek sculptor and architect who lived between 1541 and participated in the Spanish Renaissance architect and painting (Carl and Charles 168). He was born in Greece and learned art before going to Italy to open a workshop and improve his art. He later moved to Toledo, Spain, where he worked until death as a prominent sculptor (Anstis 208). His work depicted some elements of mannerism, but it also fit into the Baroque culture due to its dramatic and emotional style. His work also became inspirations to many artists to follow. Some of his known works included Pieta, View of Toledo, Christ Carrying the Cross, Virgin Mary and St. Martina, and Burial of Count Orgaz. Pieta was one of the best works of El Greco. It is housed in St. Peter’s Basilica and has a great significance in the Catholic Church (Carl and Charles 125). It visually illustrates Virgin Mary holding the body of Jesus after his dead. This demonstrates the teachings of death and lamentations of Jesus as taught in Catholic religion. Therefore, it is an important part of the mission of Catholic Church to preach the gospel of Jesus. It is an emotional Baroque art. View of Toledo is located in Del Greco Museum in Toledo, Spain (Anstis 211). It represents a visual view of Toledo and significance the green city and sombre skies; showing the beauty of the city of Toledo. Visual art sculptures of Christ carrying the cross and Virgin Mary with St. Martina and St. Agnes also describe Catholic Church teachings, hence promoting Catholic religion. Caravaggio (1573-1610) Caravaggio was one of the most famous painters in Rome in his time. He produced Tenebrism, Judith Beheading Holofernes, Calling of St. Matthew, Conversion of St. Paul, and Crucifixion of St Peter (Carl and Charles 23). He influenced Baroque painting through paintings that reflect realistic human situation through observation features, emotional appeal, and dramatic lighting. The Calling of St. Mathew demonstrates an extreme use of light. Jesus is seen calling out for Mathew who was a tax collector to join. It shows how the light of Christ comes to those called by him to serve God. These are the teachings of Catholic Church demonstrated clearly through Baroque art to persuade people to believe in the religion. Gianlorenzo Bernini (1598-1680) He produced works of art such as Collonade, Piazza of St Peters, Baldacchino, Apollo and Daphne, David, and St. Teresa in Ecstasy. This sculpture was produced for the Cornaro Chapel at St. Maria della Vittoria church in Rome (Carl and Charles 87). The sculpture demonstrates religious imagery for the Catholic Church members who believe in St. Theresa’s written doctrines. The Sculptures of Mary mother of Jesus, and the Sacred Heart of Jesus, also emerged as new forms of Catholic Baroque art. ERBS ERBS is a concept that has influenced Baroque art. It represents empirical, rational, balanced, and static. This means that the Baroque art are empirical – they can be verified by observation and experience. For example, Caravaggio used observable features of icon saints or famous people in the teachings of the Catholic Church. Baroque art is also rational. In this case, the artistic works of the Baroque period were sensible and realistic. They were also balanced. The use of light makes the paintings and Sculptures balanced in terms of contrast and observable features. Lastly, they are static. They remain unmoved from where they were placed by the artists, and their elements cannot be amended to have new features. Works cited Anstis, Stuart. “Was El Greco Astigmatic’, Leonardo, 35, 2002(2): 208-215. Carl, Klaus H, and Victoria Charles. Baroque Art. New York: Parkstone International, 2009. Print. De Las Casas, Bartolome. Short History of the Destruction of the Indies. New York, N.Y.: Penguin Books, 1992. Print. Read More