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• W2625470911 abstract "ART IN FRANCE AND ENGLAND, 1540-1640 By JoHN U. NEF I IN the sixteenth and early seventeenth centuries, with the weakening of the medieval barrier between the servile and the liberal arts, explained so admirably by Professor Maritain in his Art et Scolastique, painting and eventually the plastic arts ceased to be regarded as servile occupations . They acquired an autonomy from the methods and discipline of the ordinary craftsman's shop. They also acquired some measure of autonomy from theology and Scholastic philosophy , as these had been transmitted by priests and others in forms that even the unlettered craftsman could readily comprehend. In the Gothic age the methods and discipline of the craftsman 's shop had extended to all work done with matter, including art. Art and craftsmanship had been inseparable. They had been profoundly influenced by religion, for the common religious worship of the age was hardly less essential to life than bread and drink. The subjects of the European sculptor, painter, and glazier had been determined in large measure by Scripture, theology, and philosophy, as philosophy had been rediscovered in the books of the wisest Greeks and Romans and incorporated into medieval thought. The spirit in which the sculptor, the painter, and the glazier approached and carried through their work was derived from the same sources as the subjects. Scripture, moral philosophy, and classical culture were written into the marvelous beauty of the churches, abbeys, and cathedrals of the eleventh, twelfth, and thirteenth centuries. In the towns the citizens, together with peasants from near-by villages who brought their grain or poultry to market, saw statues of Homer, Aristotle, and Vergil alongside those of Christ, his disciples, the Virgin, and the saints of the Church. 281 282 JOHN U. NEF Most of the scenes which filled the portals, formed the stainedglass windows, and embellished the outer and inner walls and the pillars, conveyed some moral lesson. It was difficult for a Christian to doubt that in the hereafter the wicked would suffer and the good would be rewarded. In the plastic arts, the form and the medium were determined mainly by the space and position in the cathedral or monastery that the work was designed to fill. Allegorical and distorted, rather than literal, renderings of the subject were suited best to such settings. They were best suited also to the abstract world of the mind, fostered by faith and by theology and philosophy. Towards the end of the Middle Ages and at the time of the Reformation, the power of Scripture, theology, and philosophy over the subject, the spirit, and the form of works of art, diminished. In place of the Summa Theologica and the Divine Comedy and scores of lesser literary achievements inspired by the same forces of religious faith and philosophical universalism, we get stories about the individual man or woman, like those of Petrarch and Boccaccio. Profane subjects become more common in painting. In place of the great architectural scenes from the New Testament and from Church history of Cimabue and Giotto, we get the concert and the music lesson of Giorgione, the portraits of Titian, and the rich middle-class interiors of the brothers Van Eyck. Even though the painters of the Renaissance still frequently chose sacred subjects, they did not treat them with as deep a religious feeling as the painters of the thirteenth and early fourteenth centuries had revealed. The character essential to a work of sacred art, as Maritain has remarked, is not determined primarily by its subject. It must have as its objective the instruction of the faithful; it must conform to the proprieties and regulations of liturgical usage as defined by the Church; it must proceed from an inspiration which is not academic, nor formalist, nor archaic, nor sentimental , but truly and authentically religious. 1 Few paintings of early modern times with religious subjects are examples of 1 Jacques Maritain, Reflections on Sacred Art, in F. C. Lillie, Examples of Religiuus Art, Chicago, 1986. ART IN FRANCE AND ENGLAND, 1540-1640 ~88 sacred art in this sense. No religious painting of the fifteenth or sixteenth centuries brings the spectator so close to the Savior as Giotto's great..." @default.
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• W2625470911 date "1943-01-01" @default.
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• W2625470911 title "Art in France and England, 1540–1640" @default.
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• W2625470911 doi "https://doi.org/10.1353/tho.1943.0019" @default.
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