page_title: Art in the Protestant Reformation and Counter-Reformation
section_title: Genre and landscape
hierarchical_section_title: Art in the Protestant Reformation and Counter-Reformation / Genre and landscape
context_page_description: The Protestant Reformation during the 16th century in Europe almost entirely rejected the existing tradition of Catholic art, and very often destroyed as much of it as it could reach. A new artistic tradition developed, producing far smaller quantities of art that followed Protestant agendas and diverged drastically from the southern European tradition and the humanist art produced during the High Renaissance. The Lutheran churches, as they developed, accepted a limited role for larger works of art in churches, and also encouraged prints and book illustrations. Calvinists remained steadfastly opposed to art in churches, and suspicious of small printed images of religious subjects, though generally fully accepting secular images in their homes.
  In turn, the Catholic Counter-Reformation both reacted against and responded to Protestant criticisms of art in Roman Catholicism to produce a more stringent style of Catholic art. Protestant religious art both embraced Protestant values and assisted in the proliferation of Protestantism, but the amount of religious art produced in Protestant countries was hugely reduced.
context_section_description: After the early years of the reformation, artists in Protestant areas painted far fewer religious subjects for public display, although there was a conscious effort to develop a Protestant iconography of Bible illustration in book illustrations and prints.  In the early Reformation artists, especially Cranach the Elder and Younger and Holbein, made paintings for churches showing the leaders of the reformation in ways very similar to Catholic saints.  Later Protestant taste turned from the display in churches of religious scenes, although some continued to be displayed in homes.  There was also a reaction against large images from classical mythology, the other manifestation of high style at the time.  This brought about a style that was more directly related to accurately portraying the present times. The traditions of landscapes and genre paintings that would fully flower in the 17th century began during this period.
  Peter Bruegel (1525–1569) of Flanders is the great genre painter of his time, who worked for both Catholic and Protestant patrons.  In most of his paintings, even when depicting religious scenes, most space is given to landscape or peasant life in 16th century Flanders.  Bruegel's Wedding Feast, portrays a Flemish-peasant wedding dinner in a barn, which makes no reference to any religious, historical or classical events, and merely gives insight into the everyday life of the Flemish peasant. Another great painter of his age, Lucas van Leyden (1489–1533), is known mostly for his engravings, such as The Milkmaid, which depicts peasants with milk cows.  This engraving, from 1510, well before the Reformation,  contains no reference to religion or classicism, although much of his other work features both.
  Bruegel was also an accomplished landscape painter. Frequently Bruegel painted agricultural landscapes, such as Summer from his famous set of the seasons, where he shows peasants harvesting wheat in the country, with a few workers taking a lunch break under a nearby tree. This type of landscape painting, apparently void of religious or classical connotations, gave birth to a long line of northern European landscape artists, such as Jacob van Ruisdael.
  With the great development of the engraving and printmaking market in Antwerp in the 16th century, the public was provided with accessible and affordable images. Many artists provided drawings to book and print publishers, including Bruegel. In 1555 Bruegel began working for The Four Winds, a publishing house owned by Hieronymus Cock. The Four Winds provided the public with almost a thousand etchings and engravings over two decades. Between 1555 and 1563 Bruegel supplied Cock with almost 40 drawings, which were engraved for the Flemish public.
  The courtly style of Northern Mannerism in the second half of the century has been seen as partly motivated by the desire of rulers in both the Holy Roman Empire and France to find a style of art that could appeal to members of the courtly elite on both sides of the religious divide.  Thus religious controversy had the rather ironic effect of encouraging classical mythology in art, since though they might disapprove, even the most stern Calvinists could not credibly claim that 16th century mythological art really represented idolatry.
caption: Peter Bruegel's Peasant Wedding Feast.
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