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How did the Counter-Reformation influence Anthony van Dyck’s religious paintings?

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van Dyck, Anthony — Anthony van Dyck *Self-Portrait*, oil on canvas by Anthony Van Dyck, c. 1620–21; in the Metropolitan Museum of Art, New York City. 119.7 × 87.9 cm.

The Counter-Reformation significantly shaped Anthony van Dyck’s religious art by fostering a climate that prioritized spiritual intensity and emotional resonance. Following the Council of Trent, the Roman Catholic Church utilized art as a tool to stimulate faith and convey the splendor of the divine, encouraging a style that was both sensuous and deeply spiritual.12

In response to these religious currents, van Dyck’s work shifted toward themes involving tender emotion and religious transport rather than violent action. His paintings frequently depicted the Virgin as an affectionate mother or as the Mater Dolorosa in lamentation scenes. A prime example of this spiritual intensity is his 1629 painting of the crucified Christ with St. Dominic and St. Catherine of Siena, which stands as a testament to the influence of the Counter-Reformation on his artistic output.1