This introductory post to our After Iconophobia Online Symposium comes from Tara Hamling, Senior Lecturer in Early Modern History in the Department of History at the University of Birmingham. Tara is an Art Historian by training and has published widely on the impact of the reformation on visual and material cultures, for example in her monograph Decorating the Godly Household. Here she reflects on Collinson’s article, its influence, its relevance, and some of the challenges it still presents.
Why are we here? We’re here to acknowledge, celebrate and reconsider Patrick Collinson’s seminal lecture ‘From Iconoclasm to Iconophobia: the Cultural Impact of the Second English Reformation’. This hugely influential paper (published in 1986) which also informed chapter 4 of his book of 1988, The Birthpangs of Protestant England, has shaped a generation of scholarly enquiry into the impact of religion on culture, and of culture on religion, in post-reformation England.
My main interest, of course, is the visual arts – or to use Collinson’s term, pictorial arts, and especially the so-called ‘decorative’ arts in a domestic context. I want to offer, therefore, a few brief thoughts on how scholarship has tended to categorise sources and spaces, and the implications of these compartmentalised groupings for our understanding of Protestant attitudes to the image.
Categories of Image
‘Joshua’, one of a set of painted panels with Old Testament figures, c.1600. Victoria and Albert Museum. Copyright V&A, London
Since its publication 30 years ago, new work across disciplines on visual and material culture has uncovered a wealth of extant physical evidence that challenges the notion and process towards ‘iconophobia’ as established by Collinson. And yet, in the main, scholarship has tended to retain his basic framework, but point out that iconophobia couldn’t have extended to certain kinds of artwork in certain kinds of setting. Yet this newly noticed visual material has remained marginal. One of the reasons Collinson’s framework has survived the pressures placed on it by studies engaged with categories of surviving visual culture is that these artworks are deemed to be, well, not very good. Vernacular English art is judged rather embarrassing in its crude, awkward quality and this, together with an association with low culture and ‘lesser’ settings such as ‘cheap print’ or private houses, has allowed it to continue to pass relatively unrecognised. It has not been incorporated within the canon of early modern cultural forms.
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