Saint Martin and Others Appealing To the Virgin, 1715

Lesson

1. Split the class into 4 groups. Assign each group a focus topic: Protestant Reformation, Counter Reformation, About Madonna and Child with Angels on Clouds, About St. Martin and Other Saints Appealing to the Virgin. In groups, have them read the information about the artwork and context and summarize their focus topic.

2. Have each group summarize their topic to the class.

3. Give each student a copy of The Council of Trent and Religious Art. Have each student highlight portions of the excerpt that describe how Counter-Reformation art should look.

4. As a group, come up with a Counter Reformation Art Checklist to see if the artwork passes the test.

Ideas for your Counter Reformation Art Checklist

1. Art is made for the Church.
2. Art teaches about the lives and deeds of Mary, Jesus and the Catholic saints.
3. The subject is clear and easy to understand.
4. The subject is dramatic and evokes emotion.

5. Ask your students, “Is The Madonna and Child with Angels in Clouds” an example of Counter-Reformation art?

1. Is it made for a church? Yes, it is a study for a church altarpiece.
2. Does it teach about the lives and deeds of Mary, Jesus, and the Catholic saints? Yes. It shows Mary, Jesus and saints including St. Francis, St. Dominic, St. Clara, and St. Anthony of Padua.
3. Is the subject clear and easy to understand? Yes, the figures are clear and in the foreground and were identifiable to the viewer by their commonly known symbols.
4. Does the subject evoke drama and emotion? Yes, the saints depicted gave many sacrifices to the church.

6. Ask students to think about what they have learned about the Protestant Reformation and ask why Counter-Reformation art adhered to these guidelines.

1. Art is made for the Church – After the Protestant Reformation, the Catholic Church stopped the practice of indulgences and revitalized their doctrine. Many had been damaged from protests. New art was a way to make the Church an inviting place while teaching their revised doctrine.
2. Teaches the lives and deeds of Mary, Jesus and the Saints –These images were to celebrate their deeds rather than function as idols, as suggested by the Reformation.
3. Clear and easy to understand – Prior to the Reformation, the Catholic Church was considered elitist, rather than a place for the masses. The Counter-Reformation changed this approach and the Catholic Church tried to open itself to all audiences. Art was a way to teach both the literate and illiterate about Christianity.
4. Evokes drama and emotion – The Counter Reformation’s new doctrine emphasized the sacrifices and martyrdom of saints. Scenes that recall the dramatic and emotional sacrifices of saints reinforced religious fervor.
5. 7. Tell students that even 150 years after the Council of Trent, religious art still focused on celebrating the sacrifices of saints, but did this in a different style. See how St. Martin and Other Saints Appealing to the Virgin compares with your Counter Reformation Art Checklist.

8. Show St. Martin and Other Saints Appealing to the Virgin

1. Is it made for a church? Yes, it was likely a study for a larger altar. You can tell it was a study by the gridlines.
2. Does it teach about the lives and deeds of Mary, Jesus, and the Catholic saints? Yes. Along with other saints, this focuses on St. Martin.
3. Is the subject clear and easy to understand? The subject is identified by gesture and the angles that lead to St. Martin.
4. Does the subject evoke drama and emotion? Yes, the movement, gestures and emotional face of St. Martin evoke a sense of drama.

9. Today, many of the same differences still exist between the way Protestants and Catholics treat religious imagery. If students participate in an organized religion, have them share what types of images they see and what those images mean to them.



THE COUNCIL OF TRENT AND RELIGIOUS ART

Twenty-Fifth Session, December 3 and 4, 1563

From http://puffin.creighton.edu/fapa/aikin/Webfiles/baroque%20webs/council_of_trent_and_religious_a.htm The excerpt is from Canons and Decrees of the Council of Trent, translated by H. J. Schroeder, St. Louis and London, 1941. Charles P. Parkhurst, Jr., wrote the introductory note and selected the material.  See also: Blunt, Theory, chap. viii; Schlosser, Lett. art., pp. 369 if., and Kunstlit., pp. 378 if. On Sacred Images.The excerpt is from Canons and Decrees of the Council of Trent, translated by H. J. Schroeder, St. Louis and London, 1941. Charles P. Parkhurst, Jr., wrote the introductory note and selected the material.  See also: Blunt, Theory, chap. viii; Schlosser, Lett. art., pp. 369 if., and Kunstlit., pp. 378 if. On Sacred Images.

“The holy council commands all bishops and others who hold the office of teaching. . . instruct the faithful diligently in matters relating to intercession and invocation of the saints, the veneration of relics, and the legitimate use of images. . . .   Moreover, that the images of Christ, of the Virgin Mother of God, and of the other saints are to be placed and retained especially in the churches, and that due honor and veneration is to be given them; not, however, that any divinity or virtue is believed to be in them by reason of which they are to be venerated, or that something is to be asked of them, or that trust is to be placed in images, as was done of old by the Gentiles who placed their hope in idols; but because the honor which is shown them is referred to the prototypes which they represent, so that by means of the images which we kiss and before which we uncover the head and prostrate ourselves, we adore Christ and venerate the saints whose likeness they bear. That is what was defined by the decrees of the councils, especially of the Second Council of Nicaea, against the opponents of images.

Moreover, let the bishops diligently teach that by means of the stories of the mysteries of our redemption portrayed in paintings and other representations the people are instructed and confirmed in the articles of faith, which ought to be borne in mind and constantly reflected upon; also that great profit is derived from all holy images, not only because the people are thereby reminded of the benefits and gifts bestowed on them by Christ, but also because through the saints the miracles of God and salutary examples are set before the eyes of the faithful, so that they may give God thanks for those things, may fashion their own life and conduct in imitation of the saints and be moved to adore and love God and cultivate piety. . . Furthermore, in the invocation of the saints, the veneration of relics, and the sacred use of images, all superstition shall be removed, all filthy quest for gain eliminated, and all lasciviousness avoided, so that images shall not be painted and adorned with a seductive charm, or the celebration of saints and the visitation of relics be perverted by the people into boisterous festivities and drunkenness, as if the festivals in honor of the saints are to be celebrated with revelry and with no sense of decency.

Finally, such zeal and care should be exhibited by the bishops with regard to these things that nothing may appear that is disorderly or unbecoming and confusedly arranged, nothing that is profane, nothing disrespectful, since holiness becometh the house of God. That these things may be the more faithfully observed, the holy council decrees that no one is permitted to erect or cause to be erected in any place or church, howsoever exempt, any unusual image unless it has been approved by the bishop: also that no new miracles be accepted and no relics recognized unless they have been investigated an approved by the same bishop, who, as soon as he has obtained any knowledge of such matters, shall, after consulting theologians and other pious men, act thereon as he shall judge consonant with truth and piety.”

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Teacher’s Guide: Descriptive Excerpts

THE COUNCIL OF TRENT AND RELIGIOUS ART
Twenty-Fifth Session, December 3 and 4, 1563

From http://puffin.creighton.edu/fapa/aikin/Webfiles/baroque%20webs/council_of_trent_and_religious_a.htmThe excerpt is from Canons and Decrees of the Council of Trent, translated by H. J. Schroeder, St. Louis and London, 1941. Charles P. Parkhurst, Jr., wrote the introductory note and selected the material.  See also: Blunt, Theory, chap. viii; Schlosser, Lett. art., pp. 369 if., and Kunstlit., pp. 378 if. On Sacred Images.

“The holy council commands all bishops and others who hold the office of teaching. . . instruct the faithful diligently in matters relating to intercession and invocation of the saints, the veneration of relics, and the legitimate use of images. . . .   Moreover, that the images of Christ, of the Virgin Mother of God, and of the other saints are to be placed and retained especially in the churches, and that due honor and veneration is to be given them; not, however, that any divinity or virtue is believed to be in them by reason of which they are to be venerated, or that something is to be asked of them, or that trust is to be placed in images, as was done of old by the Gentiles who placed their hope in idols; but because the honor which is shown them is referred to the prototypes which they represent, so that by means of the images which we kiss and before which we uncover the head and prostrate ourselves, we adore Christ and venerate the saints whose likeness they bear. That is what was defined by the decrees of the councils, especially of the Second Council of Nicaea, against the opponents of images.

Moreover, let the bishops diligently teach that by means of the stories of the mysteries of our redemption portrayed in paintings and other representations the people are instructed and confirmed in the articles of faith, which ought to be borne in mind and constantly reflected upon; also that great profit is derived from all holy images, not only because the people are thereby reminded of the benefits and gifts bestowed on them by Christ, but also because through the saints the miracles of God and salutary examples are set before the eyes of the faithful, so that they may give God thanks for those things, may fashion their own life and conduct in imitation of the saints and be moved to adore and love God and cultivate piety. . . Furthermore, in the invocation of the saints, the veneration of relics, and the sacred use of images, all superstition shall be removed, all filthy quest for gain eliminated, and all lasciviousness avoided, so that images shall not be painted and adorned with a seductive charm, or the celebration of saints and the visitation of relics be perverted by the people into boisterous festivities and drunkenness, as if the festivals in honor of the saints are to be celebrated with revelry and with no sense of decency.

Finally, such zeal and care should be exhibited by the bishops with regard to these things that nothing may appear that is disorderly or unbecoming and confusedly arranged, nothing that is profane, nothing disrespectful, since holiness becometh the house of God. That these things may be the more faithfully observed, the holy council decrees that no one is permitted to erect or cause to be erected in any place or church, howsoever exempt, any unusual image unless it has been approved by the bishop: also that no new miracles be accepted and no relics recognized unless they have been investigated an approved by the same bishop, who, as soon as he has obtained any knowledge of such matters, shall, after consulting theologians and other pious men, act thereon as he shall judge consonant with truth and piety.”

Artist

 

About Johann Georg Bergmüller

Johann Georg Bergmüller was born in Swabia, a region within present-day Germany . It is a picturesque area identified with the Black Forest, and bordered by the Danube River , the Swabian Jura mountain range and valley of the upper Neckar River . Although much of northern Europe was swept into the Protestant Reformation, many of the people living in Southern Germany , such as Bergmüller, remained Catholic.

Bergmüller's art training came from his father, and then, with support from Duke Maximilian Philipp of Bavaria , he was able to study with the Munich court painter Johann Andreas Wolff from 1702-1708. During the next few years, Bergmüller traveled to several northern European cities. Bergmüller lived and worked in Düsseldorf from 1708-1709, and by 1711 earned enough to pursue his training in the Netherlands . In 1712, at the age of 24, Bergmüller settled in Augsburg , then one of the most prosperous cities in Europe . There he married, and earned the status of master artist. In 1715, while attending the Augsburg Academy , he produced St. Martin and Other Saints Appealing to the Virgin .

In 1730, Bergmüller was appointed as the Catholic director of the Augsburg Academy , a position he held until his death in 1762. In 1739, he was named court painter to the bishop of Augsburg . It was during this later period in his career that Bergmüller produced numerous fresco and altarpiece commissions. In addition to his accomplishments as an artist and teacher, Bergmüller was also known as a writer and illustrator.

Artwork

About St. Martin and Other Saints Appealing to the Virgin

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This artwork, produced in brilliant tones of watercolor, characterizes Counter-Reformation art: dramatic use of color and line (composition), focus on lives of the saints (content).

The main subject, St. Martin of Tours, who lived about 316 – 397, spent the majority of his life in France . He is portrayed away from the center of the picture, yet the viewer is drawn to him because of the dramatic gesture of his body and expression on his face, conveyed in more detail than for any other figure in the composition. In addition, actual and implied lines direct the viewer's eye to St. Martin as the center of attention. His clothing is brightened by white highlights and the lining of his billowing cape is illuminated in red. Shading his clothing with darker washes and hatch marks provide contrast and added drama.

The figures above and below St. Martin are significant in telling his story. The figure above him is St. George, known as the warrior saint and often referred to as the dragon-slayer. Like St. George, St. Martin served as a soldier in the Roman Army as a teenager. The older man seated near the bottom of the stairs refers to a figure whom Martin helped during this period. Upon entering the city of Amiens , Martin saw a poor, elderly man shivering near the city gates. Moved with compassion, Martin tore his coat into two parts, giving one half to the beggar. After completing his military service, Martin decided to follow a religious life. Martin was appointed bishop of Tours , France in the late 4th century. His attributes as a bishop – a mitre and crozier – appear in the hands of small angels or putti which surround him. He was particularly popular during the Middle Ages, and his gravesite drew thousands of pilgrims from his death in 397 until the mid-16th century. During the most violent period of the Reformation, in 1562, the Protestants destroyed his sepulcher and relics. Because of this vicious act, the story of St. Martin had great heroic significance in the context of the Catholic Counter-Reformation.

Other saints fill the picture. Saints could be recognized by specific visual symbols or attributes. Directly across from St. Martin is the contorted figure of St. Michael the Archangel. A symbol of the Church militant during the Counter-Reformation, St. Michael is known for slaying the dragon (similar to St. George). The expression on his shield “Quis ut Deus” (loosely translated: ”Who is like God”) almost always appears in his portrayals. In this work, the inverted semi-human dragon figure on the lower right of the picture embodies Satan. Suspended between the figures of St. Michael and Satan is a figure who is either St. Margaret or St. Martha, both of whom were martyrs. According to legend, St. Margaret trampled a dragon. Identified by the symbol – the palm – that they hold, this figure could alternately be identified as St. Martha, who traveled to France (making a connection to St. Martin of Tours) on an evangelical mission, and also trampled a dragon. She is usually shown with her sister, St. Mary Magdalene, who appears just above St. Michael, in this work. Mary Magdalene is always shown with a jar, referring to the biblical story in which she anointed Christ's feet with her oil. Here, she is anointing the Christ Child's feet. At the apex of this composition appears the Virgin Mary in a flowing blue veil and dress. The Christ Child's right arm reaches out to the figures below and extends the implied line of the triangle. His mother's left arm reaches to catch her veil, completing the triangle. The figure of the beggar, sitting near the base of the stairs, forms the apex of an inverted triangle that extends outward and upward to the left wing of St. Michael and the extended right arm of St. Martin . These overlapping triangles as well as the diagonal stairs create added tension and drama within this work.

This detailed drawing was most likely a fully realized study for an altar painting. Grid marks are faintly visible, organizing the composition into smaller blocks that could be more easily transferred to a larger scale. Although the actual drawing is only about 14 x 8 inches, about the same as the standard “legal” sheet, the relationship of figures and the dramatic coloring give a monumental quality to the work. Small in size, it is grand in scale.

Context

 

Information About the Counter-Reformation

In the aftershocks of the Protestant Reformation, the Catholic Church responded first by reforming from within. The Council of Trent (1545-1563) reaffirmed basic doctrines of the Church, eliminated the practice of indulgences (which sparked the flames of Reformation) and put numerous social and political changes into action. The art of the Counter-Reformation manifests these changes in dramatic ways. Protestants considered Catholic images as idolatrous, and in the most violent era of the Reformation, mobs destroyed Catholic Churches and artwork. To counteract this destruction, the artwork of the Counter-Reformation focused on graphic depictions of martyrdom, the idealized lives of the saints and the dramatic fervor of religious devotion. The Council of Trent established guidelines for art, which called for emotional drama, dogmatic instruction, among other criteria. When combined with the Catholic Church's reinvigorated missionary zeal, Catholicism regained some of its lost ground geographically and politically. Although the Counter-Reformation period began with the Council of Trent, artwork influenced by this religious fervor continued well into the 18th century.