ART 352 : Faith & Art

William Dyrness explores the roots of Reformed theology in an attempt to counteract these prevailing notions. Studying sixteenth-century Geneva and England, seventeenth-century England and Holland and seventeenth and eighteenth-century Puritan New England, Dyrness argues that, though this tradition impeded development of particular visual forms, it encouraged others, especially in areas of popular culture and the ordering of family and community.

Dr. White explores the theological and historical considerations relevant to building for Protestant worship. Surprisingly, these are often ignored by building committees, usually with disastrous results. His approach is highly original, especially in his theological treatment of worship; yet his book is also a operative in the largest sense, in that it relates theology to practice. Professor White begins with a critical analysis of contemporary concepts of Protestant worship and then defines the liturgical factors in church design. Following this, there are four chapters giving an historical account of various experiments from the third century to the present.

This book capitalizes on brilliant recent work on sixteenth-century iconoclasm to extend the study of images, both their making and their breaking, into an earlier period and wider discursive territories. Pressures towards iconoclasm are powerfully registered in fourteenth andfifteenth-century writings, both heterodox and orthodox, just as the use of images is central to the practice of both politics and religion. The governance of images turns out, indeed, to be central to governance itself.

Reminding readers that starkness is an aesthetic not a lack of aesthetic, surveys the visual arts, including architecture, under the influence of the Protestant Reformation in England, France, Switzerland, Germany, Hungary, the Netherlands, and America. Many of the examples range into the 18th and e

Rookmaaker's impact on the arts in the twentieth century was enormous. Laurel Gasque examines Rookmaaker's life and shows how he incorporated his biblical beliefs into his teaching, writing, and interaction with the arts.

This compelling book retells and revises the story of the German Renaissance and Reformation through the lives of two controversial men of the sixteenth century: the Saxon court painter Lucas Cranach (the Serpent) and the Wittenberg monk-turned-reformer Martin Luther (the Lamb). Contemporaries and friends (each was godfather to the other’s children), Cranach and Luther were very different Germans, yet their collaborative successes merged art and religion into a revolutionary force that became the Protestant Reformation.