Category: Contemporary Christian music

Part of the heated discussion that ensued after my post Friday about the so-called problem of Christian music expressed a general irritation with performers who identify themselves as Christian artists. We’re all aware of the capacity of modern artists to drape themselves over the cross for marketing purposes. However, there has always been a distinction between artists who work in religious themes because that is their marketplace, and those who are genuinely faith-driven.

Albrecht Dürer achieved extraordinary success very quickly. He produced a variety of works including many of a secular nature, and actively sought and exploited the patronage of Maximillian I. None of that indicates a profoundly religious man.

However, Dürer left a large body of writing that indicates that at some time he had a true religious conversion. He became an early and enthusiastic follower of Martin Luther.  His new Protestant sympathies can be felt in his later work, a transition pushed along by the death of his patron in 1519.

In 1524, Dürer wrote that “because of our Christian faith we have to stand in scorn and danger, for we are reviled and called heretics.” And in expressing thanks for the gift of one of Luther’s books, he wrote, “I pray Your Honor to convey my humble gratitude to His Electoral grace, and beg him humbly that he will protect the praiseworthy Dr. Martin Luther for the sake of Christian truth. It matters more than all the riches and power of this world, for with time everything passes away; only the truth is eternal.”

William Blake is another artist whose copious writings make his religious fervor easy to document. However, understanding them is another matter entirely. (I confess I take him in small doses.) His illustrations for Dante’s Divine Comedy include extensive margin notes in which he argues with Dante’s theology.

Blake was literally a visionary: he saw visions from childhood on. He was a believer, but he hated the church. His contemporaries thought him quite mad. But his poem “And did those feet in ancient time” comes down to us as the great patriotic hymn Jerusalem, set by Sir Hubert Parry in 1916.

I kind of like his assessment of the character of Jesus:

Compare these two painters to Michelangelo Merisi Caravaggio, another brilliant painter of religious scenes. His patrons were Cardinal Francesco del Monte and Cardinal Girolamo Mattei, and his subject matter was overwhelmingly religious, but Caravaggio could by no stretch of the imagination be described as a “Christian artist.” A brawler with an extensive police record, he managed to nick a rival in the groin with his sword, severing an artery and killing the poor man. This led to Caravaggio’s exile and ultimately to his death.