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This text is a collection of various essays in which Cummings explores the role that religion played in early modern art. While his discussion addresses a wide range of issues, he gives special focus to the manifestation of religion in art and culture. According to Cummings, virtually no aspect of public life in the early modern period escaped the effects of religion. He gives the example of Shakespeare, an early modern artist as part of his efforts to show that religion had far-reaching effects on artistic expression. Whereas the key theme of Cummings’ work is the religious influences of art, he also identifies various artists who strived to decouple their lives and work from religion. Cummings’ text was selected because of its relevance and authority. This text responds directly to the question that the project will seek to answer. It allows one to appreciate the tremendous impact that religious traditions, structures, and figures had on art. It is hoped that by consulting this source, a broad and comprehensive understanding of the evolution that art underwent during the early modern period will be gained.
In this text, Davis echoes the issues that Cummings raises in his book. The focus of Davis’ discussion is how religious forces shaped religious identity and expression in art. He mentions how religious forces imposed restrictions and censorship in a bid to reclaim art and employ it to further religious agendas. Another critical issue that Davis addresses are the emergence of iconography as a tool for solidifying the hold of the Catholic Church in early modern England. It is true that the English artistic and religious landscape is the highlight of Davis’ text. However, the insights that David shares can be extended to other regions which also witnessed the force of religion during the early modern period. As is the case with the text by Cummings, Davis’ book is insightful and will enrich the discussion on the transformation that early modern art underwent due to religious influences.
In this article, Heal sheds light on how the evangelical churches in Europe embarked on a campaign to purify art and rid it of what was regarded as corrupting influences. Heal challenges readers to appreciate the tremendous power that the church wielded and how art was repurposed to serve the interests of the church. She also observes that art was not a passive object of transformation; it also had an effect on the church and religious expression. Using art, courageous and creative individuals imposed pressure on the church to embrace reform. That Heal’s article is relevant to the project is not in question. The relevance lies in the fact that both the project and the article underscore the close relationship between the early modern church and art. It is expected that this article will highlight the interactions between art and religion and show how artistic expression evolves to reflect changes in the religious landscape.
Whereas the other sources narrow their focus on such art pieces as paintings, Stelling’s text gives particular attention to the drama in early modern England. He records that during the early modern period, the drama was part of the arsenal that the church employed in pushing for spiritual conversion. He adds that drama played a critical role in preserving essential Christian principles and furthering the agenda of the church. Overall, Stelling addresses the same theme that is found across the other sources: the church and art were intimately connected. The relevance of his text is in its focus on how spiritual conversions were secured through art. By integrating the insights that Stelling shares, the project will spotlight the significance of religion in early modern art.
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