Art After Iconoclasm

The beeldenstorm, or the Iconoclastic Fury, that raged throughout the Low Countries in 1566 is a key concept in Netherlandish history. This popular uprising, which was partially grafted on Protestant ideas, has traditionally and unquestioningly been considered a turning point in the history of the Low Countries. It is all the more striking, therefore, that this occurrence has received scant attention in art history and that there has been little interest in the development of painting just after the beeldenstorm and before the advent of the great Baroque masters. Featuring previously unpublished materials, Antwerp Art after Iconoclasm investigates how the esteemed painters of the period—including Adriaen Thomasz Key, Maarten de Vos, Frans Pourbus the Elder, and Michiel Coxcie—sought a new visual idiom. This study explains why this period of Netherlandish history should be considered an important turning point in the broader context of art history. It demonstrates that the era's paintings represent a subtle but nonetheless important reinterpretation of the traditional, religious iconography and style, which served as the starting point of Netherlandish Baroque style.

The beeldenstorm, or the Iconoclastic Fury, that raged throughout the Low Countries in 1566 is a key concept in Netherlandish history. This popular uprising, which was partially grafted on Protestant ideas, has traditionally and unquestioningly been considered a turning point in the history of the Low Countries. It is all the more striking, therefore, that this occurrence has received scant attention in art history and that there has been little interest in the development of painting just after the beeldenstorm and before the advent of the great Baroque masters. Featuring previously unpublished materials, Antwerp Art after Iconoclasm investigates how the esteemed painters of the period--including Adriaen Thomasz Key, Maarten de Vos, Frans Pourbus the Elder, and Michiel Coxcie--sought a new visual idiom. This study explains why this period of Netherlandish history should be considered an important turning point in the broader context of art history. It demonstrates that the era's paintings represent a subtle but nonetheless important reinterpretation of the traditional, religious iconography and style, which served as the starting point of Netherlandish Baroque style.

Last winter, a man tried to break Marcel Duchamp’s Fountain sculpture. The sculpted foot of Michelangelo’s David was damaged in 1991 by a purportedly mentally ill artist. With each incident, intellectuals must confront the unsettling dynamic between destruction and art. Renowned art historian Dario Gamboni is the first to tackle this weighty issue in depth, exploring specters of censorship, iconoclasm, and vandalism that surround such acts. Gamboni uncovers here a disquieting phenomenon that still thrives today worldwide. As he demonstrates through analyses of incidents occurring in nineteenth- and twentieth-century America and Europe, a complex relationship exists among the evolution of modern art, destruction of artworks, and the long history of iconoclasm. From the controversial removal of Richard Serra’s Tilted Arc from New York City’s Federal Plaza to suffragette protests at London’s National Gallery, Gamboni probes the concept of artist’s rights, the power of political protest and how iconoclasm sheds light on society’s relationship to art and material culture. Compelling and thought-provoking, The Destruction of Art forces us to rethink the ways that we interact with art and react to its power to shock or subdue.

"Explores the relationship between art and religion after the iconoclasm of the Dutch Reformation. Reassesses Dutch realism and its pictorial strategies in relation to the religious and political diversity of the Dutch cities"--Provided by publisher.

With new surges of activity from religious, political, and military extremists, the destruction of images has become increasingly relevant on a global scale. A founder of the study of early modern and contemporary iconoclasm, David Freedberg has addressed this topic for five decades. His work has brought this subject to a central place in art history, critical to the understanding not only of art but of all images in society. This volume collects the most significant of Freedberg’s texts on iconoclasm and censorship, bringing five key works back into print alongside new assessments of contemporary iconoclasm in places ranging from the Near and Middle East to the United States, as well as a fresh survey of the entire subject. The writings in this compact volume explore the dynamics and history of iconoclasm, from the furious battles over images in the Reformation to government repression in modern South Africa, the American culture wars of the early 1990s, and today’s cancel culture. Freedberg combines fresh thinking with deep expertise to address the renewed significance of iconoclasm, its ideologies, and its impact. This volume also provides a supplement to Freedberg’s essay on idolatry and iconoclasm from his pathbreaking book, The Power of Images. Freedberg’s writings are of foundational importance to this discussion, and this volume will be a welcome resource for historians, museum professionals, international law specialists, preservationists, and students.

Debunking the myth of the stark white Protestant church interior, this study explores the very objects and architectural additions that were in fact added to Netherlandish church interiors in the first century after iconoclasm. In charting these additions, Mia Mochizuki helps explain the impact of iconoclasm on the cultural topography of the Dutch Golden Age, and by extension, permits careful scrutiny of a decisive moment in the history of the image. Focusing on the Great or St. Bavo Church in Haarlem, this interdisciplinary book draws on art history, history and theology to look at the impact of iconoclasm and reformation on the process of image-making in the early modern Netherlands. The new objects that began to appear in the early Dutch Reformed Church signaled a dramatic change in the form, function and patronage of church art and testified to new roles for church, government, guild and resident. Each chapter in the book introduces a major theme of the nascent Protestant church interior - the Word made material, the Word made memorial and the Word made manifest - which is then explored through the painting, sculpture and architecture of the early Dutch Reformed Church. The text is heavily illustrated with images of the objects under discussion, many of them never before published. A large number of these images are from the camera of prize-winning photographer Tjeerd Frederikse, with additional photography courtesy of E.A. van Voorden. This book unveils, defines and reproduces a host of images previously unaddressed by scholarship and links them to more familiar and long studied Dutch paintings. It provides a religious art companion to general studies of Dutch Golden Age art and lends greater depth to our understanding of iconoclasm, as well as the way in which cultural artifacts and religious material culture reflect and help to shape the values of a community. Taking up the challenge of an unusual category of objects for visual analysis, this

Debunking the myth of the stark white Protestant church interior, this innovative book draws on art history, reformation history and theology to explain the impact of iconoclasm on the cultural topography of the Dutch Golden Age. Lavishly illustrated with color photographs of many objects never before published, this study identifies a previously overlooked aspect of iconoclasm: while acknowledging its destructive force, Mochizuki also discloses its generative power and the remarkable creativity it unleashed.

Debunking the myth of the stark white Protestant church interior, this study explores the very objects and architectural additions that were in fact added to Netherlandish church interiors in the first century after iconoclasm. In charting these additions, Mia Mochizuki helps explain the impact of iconoclasm on the cultural topography of the Dutch Golden Age, and by extension, permits careful scrutiny of a decisive moment in the history of the image. Focusing on the Great or St. Bavo Church in Haarlem, this interdisciplinary book draws on art history, history and theology to look at the impact of iconoclasm and reformation on the process of image-making in the early modern Netherlands. The new objects that began to appear in the early Dutch Reformed Church signaled a dramatic change in the form, function and patronage of church art and testified to new roles for church, government, guild and resident. Each chapter in the book introduces a major theme of the nascent Protestant church interior - the Word made material, the Word made memorial and the Word made manifest - which is then explored through the painting, sculpture and architecture of the early Dutch Reformed Church. The text is heavily illustrated with images of the objects under discussion, many of them never before published. A large number of these images are from the camera of prize-winning photographer Tjeerd Frederikse, with additional photography courtesy of E.A. van Voorden. This book unveils, defines and reproduces a host of images previously unaddressed by scholarship and links them to more familiar and long studied Dutch paintings. It provides a religious art companion to general studies of Dutch Golden Age art and lends greater depth to our understanding of iconoclasm, as well as the way in which cultural artifacts and religious material culture reflect and help to shape the values of a community. Taking up the challenge of an unusual category of objects for visual analysis, this