In the XVI-XVII centuries, when the High Renaissance and Baroque were prospering in Europe, religion undeniably influenced the development of art. The religious upheavals greatly expanded the sphere, bringing many icons, altars, stained glass windows, and other art objects displaying religious motifs. In this paper, using the example of several specific pieces, it is discussed how religion was one of the key stimuli for the development of painting and was invested in the subtexts of many works.
Michelangelo’s Sistine Chapel Ceiling depicting stories from the book of Genesis is considered one of the greatest examples of Renaissance painting. It is divided into 33 sections, each of which is painted with different scenes. The plot of the book of Genesis is depicted in nine central fragments, while other spaces are occupied by the Old Testament scenes and depiction of the ancestors of Christ. Michelangelo originally conceived bright colors, but the shades faded and became darker after the restoration. The figures’ skin tones are pale peach, and the clothes are painted in pale pastel tones, which leaves a feeling of calm and grandeur. The ceiling of the Sistine This work primarily reflects Michelangelo as a deeply religious and devout man. The complex and unusual iconography is considered a Neoplatonic interpretation of the Bible, representing the main stages of the spiritual development of humanity and the dramatic relationship between man and God (Gilbert, 2022). To fill an almost unimportant ceiling space with such a painting demonstrated a deep respect for the religious motives of that time.
Isenheim Altarpiece by Grünewald was painted for the hospital chapel of the Monastery of St. Anthony in Isenheim. The painting was created five years before Luther nailed his Protestant theses to the doors of Wittenberg Cathedral in 1517, but it perfectly reflects the agony of the early 16th century. In this sense, Grunewald’s tortured masterpiece is the complete opposite of modern Italian works of the High Renaissance. While the crucifixion is gloomy, though deathly pale, the other panels are marked by Grunewald’s vibrant Renaissance color palette, as well as his unique images of the devil. The altarpiece challenges its viewer through its depression of the reality of suffering and makes them question how “good” can come out of it (Aramini, 2018). The religious subtext, focusing on the suffering and pain of Christ’s crucifixion, has a huge psychological impact on the viewer.