The Revelation of Art-Religion

Art’s original function in Christian Europe is exemplified by the way the Eastern Icon served as a window to the divine. After the Great Schism of 1054, several developments in Western Christianity separated art from church, cult, and religion. Art continued to evolve independently of the Roman Catholic Church through the Renaissance, with a continuous development of artistic style that culminated in the Baroque Totalism of the eighteenth century. At the end of the eighteenth century, the fully secular realm of art provided vehicles that helped facilitate the French Revolution, and then served in the nineteenth century as a medium for attempts to incubate new social meaning in the Revolution’s traumatized aftermath, either through Romantic naturalism or a historicistic retrieval of the Baroque order. The upheaval had been too great for art as such to manage, however, and instead the realm of art abandoned its long-established continuity with the past, to understand itself as continuing the Revolution toward a better but entirely unknown outcome. Some objected that only philosophy could achieve this, whereas art could do so only by arrogating to itself a new devotional status in terms the public could accept, a concept Reinhold Knoll explores as “Art-Religion.” Hanging on to the past in the continuing present (historicism) soon became stale, and Romantic naturalism unleashed a sleep of reason, while the spiritualization of art detached it from its transient social context and disengaged the audience from its actual world by creating a vacuum to be filled by Richard Wagner’s notion of Gesamtkunstwerk (a “total work of art”), relying in part on a free merging of Christian doctrine and cult, supported by radical political aspirations for the German Volk and buoyed by a Dionysian abuse of the several arts in the name of the Gesamtkunstwerk. Friedrich Nietzsche’s growing ambivalence – he recognized the nihilism and staleness of “Art-Religion,” but looked to art only to ma