Volume 45 Number 4 Article 1

June 2017

Rumors of Glory: Abraham Kuyper's Neo-Calvinist Theory of Art

Roger Henderson

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Recommended Citation Henderson, Roger (2017) "Rumors of Glory: Abraham Kuyper's Neo- Calvinist Theory of Art," Pro Rege: Vol. 45: No. 4, 1 - 9. Available at: https://digitalcollections.dordt.edu/pro_rege/vol45/iss4/1

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ideological implication. The whom Kuyper worshiped established art as an aspect of life, with a raison d’être and integrity of its own. When God created birdsong, the colors of the sky, the fragrance of the flowers, He was preparing for the possibility of human art. It was to constitute a sphere of exis- tence, a part of life with its own divine ordinances and sovereignty. It was not trivial, not frivolous, not just a pastime for the rich and idle. Rather “the ar- tistic instinct is an universal human phenomenon,” according to Kuyper.2 Kuyper’s early conversion to Christ and second conversion to gave him a philosophical- by Roger Henderson theological, unity-loving principle of coherent di- versity that guided him throughout his long life. As a young student of and literature at A faith that leaves the wide field of the arts un- University, he was attracted to ways of thinking far cultivated, depriving the upcoming generation of removed from anything Calvinistic. 3 However, af- contemporary cultural expressions of the glory of ter his emotional turn-around in faith, he eventual- God, condemns itself to artistic marginalization ly came to see the need of a system in which all the and irrelevance. Art is a subject Abraham Kuyper different strands of thought were internally coher- discusses in many contexts and connections. He be- ent and symbiotically connected. This meant that lieved that it has played an important though often the various things he believed and ideas he held to overlooked role in history, and he wants Christians be true should fit together and attract rather than to be sure not to neglect it. repel one another. They should mutually support One of the most significant and influential sets one another within a theology or world view. This of lectures Kuyper gave during his long public ca- concept is part of what eventually turned Kuyper reer contained a chapter on art.1 He approached it back to Calvinism. In attempting to understand at various levels of actualization, sophistication and the unity of truth and of the teachings of Scripture, Kuyper became persuaded that Calvinism offered a highly coherent approach. This coherence is what Dr. Roger D. Henderson, former Professor of attracted him and eventually gave rise to what is at Dordt College, now lives in Aptos, California. now called neo-Calvinism, or Kuyperianism. He

Pro Rege—June 2017 1 viewed the coherent diversity of culture as a norma- different sphere of life: “If God is and remains tive aesthetic idea and ideal. Sovereign, then art can work no enchantment ex- In this article Kuyper’s theology and philosophy cept in keeping with the ordinances which God has of art will be explored and explained, including: I. ordained….”6 According to Kuyper, each sphere is Art as a Life-Sphere, II. Unity and Neo-Calvinism, irreducible to any other, and each has a law, or set III. The Disclosure Process of Art, IV. Art and of ordinances, which functions as its unique norm, Religion, V. Ordinary Beauty and the Beautiful, character, and growth principle. VI. The Greek Aesthetic Achievement, and VII. This establishment of an aesthetic order of ex- Conclusion. istence implies that art is an indispensable part of At a very basic level, Kuyper accepted the culture and human life—how many movies, filmed threefold biblical teaching that (1) the world was literary works in theatrical production are watched originally arranged and created good, “very good”; by us each week? Artistic action, performances, (2) that it was brought into a dysfunctional state, and artifacts constitute a distinct facet of human “subjected to futility” by wrong human (and an- life with many different manifestations. The aes- gelic) choices; and (3) that now the creation both thetic order shows itself narrowly as “fine art” and enjoys and groaningly awaits Christ’s transforming broadly in the ways people fill, decorate, and ar- resurrection power. This teaching was taken in an range their environment. It also offers the possibil- unrestricted, unlimited sense, applying to everything ity of arranging and cultivating our cultural life- created, including art—but of course not to God world in beautiful and pleasant ways. The aesthetic the Creator: “As the sad consequence of sin, the real sphere is a treasure chest waiting to be opened up, beautiful has fled from us…[:] the world once was unfolded, and actualized in arrangements, whereby beautiful, but by the curse has become undone…. the unity and beauty of creaturely existence might Art has the mystical task of reminding us in its pro- reflect the glory of God. It is a possibility given by duction, of the beautiful that was lost and of an- God for studied creative labor, the results of which ticipating its perfect coming in luster.” 4 Art could show different levels of sophistication; some can be and should reflect the challenges of a reality like monumental, calling for public display, while oth- this, wonderfully created yet out of tune (with itself ers are simple quaint features of domestic life. In and its maker), and now in a process of renewal in other words, “art” was not just a few material objects Christ—with the promise of full redemption in the for Kuyper but involved numerous activities based future. on God-given norms, the recognition and embodi- While some of Kuyper’s views on the specific ment of which carried implications about truth and nature of art have received criticism, for example goodness. his idea of beauty and the accomplishments of an- Although Kuyper offered a wide variety of dif- cient Greek art, his understanding of an aesthetic ferent theological and philosophical reasons for the sphere as part of the divine order of creation makes importance of aesthetic life, his insistence upon or- his approach valuable regardless of deficiencies.5 dinances and a process of their cultural unfolding (His controversial ideas on these and other mat- is the foundation of all his other claims. Art work ters are sometimes more interesting and thought- represents the embodiment of the principles or or- provoking than the less controversial ones of other dinances for this sphere in a more or less master- authors.) ful, truthful, and obedient fashion. Artistic work should be free to function and develop in its own I. Art as a Life-Sphere direction and not be dominated by another sphere The underlying assumption of Kuyper’s and set of ordinances. Calvinist perspective is the claim that Christ is sovereign, the Lord of all. Sovereignty, authority, II. Unity and Neo-Calvinism and power are interpreted as Christ’s rule, involv- For an understanding of Kuyper’s aesthetics, ing the work of the Holy Spirit given at Pentecost his early lecture “Uniformity: the Curse of Modern and the creational ordinances established for each Life” (1869) is essential. 7 It was not until nearly two

2 Pro Rege—June 2017 decades later, in 1888, that he wrote his first article tence, and to populate the world of the human 15 specifically on art.8 However, the early lecture has heart with different ideals and conceptions. a direct bearing on art and a broad indirect bear- Without unity, nothing can thrive nor even ing on his general way of thinking. In it he fiercely survive. Given the importance Kuyper attributes to opposes uniformity, mindless standardization, and unity, we shouldn’t be surprised; he believes that it centralization—as did his mentor G. Groen van is a key property of the beautiful and, consequently, Prinsterer. Kuyper contrasts uniformity with real that excellent artistic works display it to a high de- unity—still emphasizing the importance of diver- gree. But again, unity is not the same as uniformity: sity within the bounds of unity: “In the unity of Look about you in the theater of nature and tell the kingdom of God diversity is not lost but all me: where does creation, which bears the signa- 9 the more sharply defined.” ture of God, exhibit that uni- Each unique achievement of The underlying assumption of form sameness of death to unity is a gift of God’s grace, which people are nowadays either the special or the gen- Kuyper’s Calvinist perspective trying to condemn all human eral kind: “Unity is only is the claim that Christ is life? Raise your eyes, look at found at that point where sovereign, the Lord of all. the starry heavens, and you it springs from the fountain will see not just a single beam of the Infinite.”10 This un- of light but an undulating, derstanding of unity (and diversity) provides the scintillating sea of light coming from myriads of framework of his thoughts on art and the beautiful. bright-shining stars…. Uniformity in God’s cre- Unity is a necessary requirement and characteristic ation! No, rather infinite diversity, an inexhaustible of good artistic work: “The flourishing of the arts profusion of variations that strikes and fascinates is the true measure of the vitality of an era. Art is you in every domain of nature, in the ever-varying born out of a zest for the beauty of true unity, out of shape of a snowflake as well as in the endlessly dif- an impulse toward a fuller life.”11 The unity, how- ferentiated form of flower and leaf…, multiplicity ever, must be real and not artificial; forcing things of its colors and dimensions, in the capriciousness of its ever-changing forms…. But that artful em- to be the same is a mere counterfeit unity: “I do broidery of infinitely varying colors and shades not shrink from calling false uniformity the curse does not lack unity of conception…[;] the drive of modern life: it disregards the ordinances of God for unity in God’s revelation is … powerful.16 revealed not only in Scripture but throughout his entire creation.”12 In other words, true unity arises internally by a Kuyper believed that the world was many-facet- symbiotic cohesion of parts—not by forcing art or ed, many-layered, and that all its parts and their re- anything else into preconceived molds of sameness. lationships are held together by Christ, making up The key term for Kuyper next to unity is coherence. a coherent whole.13 They constitute a unity which God brings about, treasures, and sustains moment III. The Disclosure Process of Art by moment. And it is Calvinism, he says, that of- Concerning coherence, Kuyper was a man with fers “an all-embracing system of principles” with a plan, usually more than one, as he worked hard “a unity of life-conception.”14 This unity is part to find the connections between things and ideas, of why “Calvinism” (later called neo-Calvinism) to show how ideas and actions are and should be was important and culturally relevant in his eyes. connected. As a result, he approached the subject He believed that its integral view of faith and life of art from many different angles. (The program- was vital to a culturally formative Christianity. matic character of his thought can already be seen According to Kuyper, in his early insistence that the letter-exchanges be- Calvinism made its appearance, not merely to tween himself and his fiancée take place at regular 17 create a different Church-form, but to create an fixed times of the day and week.) After he taught entirely different form for human life, to furnish aesthetics for a few years at the Vrije Universiteit human society with a different method of exis- at (the institution he helped start), a

Pro Rege—June 2017 3 German Academic Report appeared in 1888, voic- way certain art forms are developed in a society, ing surprise that a “Calvinist” University was of- he argues that it is better than the all-too-common fering an aesthetics course. In response, he wrote preoccupations with alcohol or sex. Normatively his first whole article on art explaining how various speaking, art should allow culturally formative civilizations have seen it, and how it should be seen work to comfort, ennoble, and enhance human life according to Calvinism. Part of his view involves while reflecting God’s glory. In other words, artistic the “disclosure process” of the arts in culture. The work has both a structural and a factual side, and aesthetic sphere, he argued, does not appear full what is good structurally can be factually misguid- grown; but like a seed, it awaits cultivation, cul- ed or even used for evil. tural unfolding, and development. It is part of the Kuyper also believes that works of art speak, as possibility and responsibility God has given human one of his later students (Rookmaaker) expressed beings to be good stewards of creation.18 it. They are suggestion-rich as another (Seerveld) Kuyper believed that God’s universal kindness puts it. The aesthetic life-sphere can be unfolded in was visible in artistic expressions. This view was ways that direct our attention toward or away from based on a distinction he drew between the saving the Kingdom of God. Aesthetic work captures and grace of God in Christ and the preserving grace of conveys the feel, flavor, and scent of a life-direction. God common to all. The possibility of developing Such life-directions, he says, can be observed par- artistic work and artistic traditions was an expres- ticularly in great works of art and architecture.20 sion of “common grace.” God gives it as He gives Certain works or edifices have regularly come to rain to the just and unjust (Matt.5:45). “Common symbolize a culture and its religion. It is almost grace” is that universally the case that each major religion has its by which God, maintaining the life of the world, own temple or representative building. In such edi- relaxes the curse which rests upon it, arrests its fices there is usually a signature pattern and style process of corruption, and thus allows the un- that gets widely distributed in the artistic works of trammeled development of our life in which to that culture. The idea of a life-direction is an illus- glorify Himself as Creator.19 tration of Kuyper’s belief about unity, namely that there is an inherent tie between a particular religion This common grace gift of art involves the open- or world view and the artistic style that grows out ing up and unfolding of hidden treasure of the cre- of it. People’s ideas and their art tend to display a ation. (However, because this grace allows people unified pattern within a culture. to express views and feelings about life and truth in their artistic work that can be far from Biblical, IV. Art and Religion not all Christians are happy to affirm art as a gift One of the main traditional sponsors of art, of God.) Even though the arts afford enjoyment historically speaking, has been religion, and reli- and comfort, they are not neutral, not inert, not gious worship in particular. For a long time, “Art unrelated to what people think, believe, and are. derived her richest motives from Religion. The reli- Artistic work and performance are both represen- gious passion was the gold-mine, which financially tative and formative of cultures—and civilizations. rendered her boldest conceptions possible.”21 As Many native peoples have represented God or the a result, “Art-style and the style of worship coin- at a very basic sensual level, using images and cided.”22 It seems surprising then that Calvinism carvings—which as sculptures can be beautiful but minimized the use of tangible religious artifacts in as idols problematic. worship. Historic Calvinism, Kuyper says, repre- Although capable of being misused or abused, sents a stage of development in which images and human artistic creativity is recognized by Kuyper artifacts are no longer considered necessary. Its uni- as a part of the original good creation and subject ty is no longer expressed in one outward (religious) to redemption in Christ. It is an important part of style or representation, nor is it oriented to one this coherent multifaceted cosmos. Even if aesthet- temple or place of worship. At this stage of develop- ic activity is corrupted and misused in terms of the ment it can be practiced anywhere “in spirit and in

4 Pro Rege—June 2017 truth”—without the help of artistic artifacts (John Amsterdam, his concern for everyday art and the 4:23). Since Calvinist religious worship is no longer beauty of the environment became clear. He de- bound to artifacts and can take place anywhere, it scribes the individual design as resulting from the can be given a wide range of expressions. Art and longing of ordinary people to make things that artistic style no longer have to coincide with a reli- are tasteful and carry a personal touch.26 Things gion. With the advent of Calvinism in Europe, art brought forth in this way are often stylish, bear- gained its freedom far beyond distinctly Calvinist ing the unique signature of their makers. While countries to develop in a plurality of directions, not highly refined, they inspire and are inspired by forms, and styles on its own. what we call the fine arts. They share beauty with Calvinist Christianity has never been repre- them, albeit of different forms and types: sented by one building or What is it in the architectural style.23 While some people Although capable of being styles of our old Dutch cit- may view this absence as misused or abused, human ies that so charms the visit- a deficiency, a proof that ing stranger? What else but Calvinism is incomplete as artistic creativity is recognized the infinite variety in width a theology or life-system, by Kuyper as a part of the or narrowness, the looseness Kuyper surprisingly affirms original good creation and of twists and curves, the it as a unique strength. subject to redemption in Christ. pointed and obtuse angles of Calvinism’s focus on the even our most elegant canals sovereignty of God is part of that tell you they were not the reason Kuyper gives for this lack of a distinct ar- made but grew….You can im- chitectural style. The reality of a Sovereign Creator mediately tell that no shoddy, money-hungry de- cannot be expressed in or limited to one artistic veloper threw up that line of houses but that every style because it points beyond anything created or dwelling is the fulfillment of a personal dream, the creaturely and is simply too rich to be captured in precious product of quiet thrift, based on a per- this way. The usual connection between religion sonal plan and built slowly from the ground up. and art became obsolete with the rise of Calvinism. Those tufted, tiered, triangular, and shuttered ga- This absence of an artistic style for Calvinism had bles were not symmetrically measured with a level but reflected, every one of them, the thinking of a profound influence on European culture outside a human being, the whimsicality of a somewhat of Calvinist circles: 24 “In its very want of a special overconfident human heart.27 architectural style, Calvinism finds an even higher recommendation.” 25 The possibility of such human artistic activ- ity and the enjoyment of art was part of the good V. Ordinary Beauty and the Beautiful creation and was a result of people being made in Kuyper recognized that in spite of the pos- the image of God—with five senses—and divine sible richness and diversity of artistic expression, grace. A part of being made like this is the experi- his nineteenth century had traded the traditional ence of being attracted by beauty. We are attracted (European culture’s) concern for the unity and to certain arrangements of things through our beauty of ordinary things for the benefits of mass senses. In such experiences we perceive order, beau- production, utility, and uniformity. He sensed a ty, and the warmth of our surroundings. Behind shift away from process to results, from craftsman- sexual attraction, the beauty of nature, and other ship to efficiency. Even though he knew that artistic types of beauty, something deeper and more pro- work needs explicit endorsement and practical en- found lurks, something for which we were made couragement in such a cultural situation, he wanted and have an innate yearning. A student noted that to avoid the excesses of art fanaticism and art crazes in one of Kuyper’s lectures he said, “Our being can- at the margins of culture. When he admiringly re- not be satisfied unless the thirst for beauty that we flected upon the thousands of individually designed experience is quenched.”28 The human experience and built houses in cities like Delft, Gouda, and of being attracted, charmed, or fascinated by some-

Pro Rege—June 2017 5 thing or someone beautiful is an innate longing—a not superficial, as in the case of uniformity or mere foretaste of the world to come. Kuyper believes that sweetness. Beauty, like true unity (and not mere our interest in and attraction to the beautiful is a sameness), involves the symbiotic mystery of turn- main factor in life and art. And although the beau- ing parts and pieces into a recognizable thing or ge- tiful was often associated with highly refined art, stalt. Humans were made for art, and art was made he was still willing to call the patterns and lines of a for humans because the deeper purpose of art is for Dutch dike system a work of art.29 humans to enjoy and reflect on the glory of God. Like the other major life-areas, art too has its To a certain extent, Kuyper did assume the good and its bad examples and more or less mas- Pythagorean or classical ideal of beauty, and terful embodiments of its inherent norms. Kuyper thought that art should embody the beautiful. touches on both: However, he departed from that belief in signifi- in many instances [the] love of art leads men to cant respects: first, he knew that the Pythagorean seek enjoyment in nobler directions and lessens mathematical ideal of beauty did not capture the the appetite for lower sensuality….In my estima- reality of a creation that was good in principle but tion, even the most injudicious aesthetical fanati- broken in condition—a world on a bumpy path to cism stands far higher than the common race for redemption and glorification. True beauty comes wealth, or an unholy prostration before the shrines from digging below the surface, as Rembrandt of- of Bacchus and Venus.30 ten did, and from opening up reality as it truly is and showing what it points to. Second, and con- He advises that we keep our “eyes fixed upon the sequently, Kuyper did not limit “art” to museum Beautiful in its eternal significance, and upon art as art, or art for art’s sake; for he also saw it as poten- one of the richest gifts of God to mankind.”31 As he tially enhancing ordinary life. Art was not prop- also states, “The beauty in seemingly insignificant erly autonomous, or an end in itself. The goal of things is opened for us by the artist’s eye.”32 art was not limited to sheer contemplative delight. As far as the art of painting goes, Kuyper men- Although some works of art could function in this tions Rembrandt and the Dutch school’s preoc- way, another common function of the arts was to cupation with reality—its willingness to portray simply add enjoyment and amusement to life. If ordinary things and common people honestly and Kuyper ever thought of art as having come into its in ennobling ways: “There must be an art, which, own, it was in the Reformation period and particu- despising no single department of life adopts, into larly in the Golden Age of the , when her splendid world, the whole of human life….”33 fine paintings were abundant enough to be sold at The idea of art portraying things “in ennobling open air markets next to the fish, baked goods, and ways” did not mean presenting a sentimental, sug- vegetables. 34 ar-coated vision of reality, like a Thomas Kinkade It follows from what Kuyper says that whenever painting. It meant that the artisan and musician possible, churches and other places of Christian seek to comfort us, uncover and disclose lost good- worship should be beautiful or at least handsome, ness, and give us hints of restoration and rumors of well-designed, and well-furnished buildings—as glory in things. were the first ones built in the Netherlands after Although the senses play a big role in our per- the Reformation. ception of beauty, what Kuyper calls the beautiful has a meaning that goes beyond the senses. He un- VI. The Greek Aesthetic Achievement derstands the appeal that beauty makes upon us The benchmark for lifelike works of art widely as a longing planted in us by and for God. God displayed throughout the polis or community was himself is glorious and beautiful; and since human established in ancient Greece, in Kuyper’s opinion, beings are made in the image of God and made for and not the Enlightenment or Romantic periods. fellowship with God, they are attracted to earthly He says that “unbelieving nations… in their secular beauty as a foretaste of the glory of the world to history are called by God to a special vocation.”35 come. His idea of beauty like his idea of unity was And the Greek vocation was to achieve a break-

6 Pro Rege—June 2017 through and discovery yet unknown to the world does not stop at appearance(s), just as the natural in art. As Kuyper explains, art “is a plant that grows scientist or plant or animal breeder seeks to bring and blossoms upon her own root…. Inasmuch as out lines, characteristics, and vibrant qualities lead- the Greek artists were the first to clearly see the ing to improved novel strains. Artistic work should law of the existence and growth of this art-plant, offer a foretaste of the way brokenness can give way it is for this reason that all of the higher arts again to glory, glimpses of hard-won salvation, and resur- and again borrow the pure impulse of that classi- rection: 36 cal development.” Moreover, “although a further The central impulse, and the central animation, in art-development may seek the mystical root of our be- newer forms and richer ma- The reality of a Sovereign ing . . . seeks to reveal itself terial, the nature of the orig- Creator cannot be expressed to the outer world…. Thus inal find remains the same” also no unity in the revela- (my translation 1898:158- in or limited to one artistic tion of art is conceivable, ex- 159). 37 And yet Kuyper style because it points beyond cept by the art-inspiration of adds to this high assess- anything created or creaturely an Eternal Beautiful, which ment of the Greek achieve- and is simply too rich to be flows from the fountain of ment the statement “Not for captured in this way. the Infinite…. And since this the sake of stopping short is the very privilege of Reli- with Greece, or adopting gion, over intellect, morality her Paganistic form without criticism,…[Art], like and art, that she alone effects the communion Science, cannot afford to tarry at her origin, but with the Infinite in our self-consciousness, the call must ever develop herself more richly, at the same for a secular, all-embracing art-style, independent time purging herself of whatsoever had been falsely of any religious principle, is simply absurd [in] so intermingled with the earlier plant.”38 While there exceedingly important a domain as that of the 41 may be tension between his assessment of the Greek mighty arts. achievement and Greek Paganism, Kuyper seems aware of the need to be discerning in borrowing VII. Conclusion from its discovery. Sometimes Kuyper has a way of surprising his While the Greeks disclosed some of the trea- readers by saying the obvious. He took seriously the sures and laws of art to the world, it was the love of prophet’s rebuke that idols cannot hear and graven liberty, characteristic of Calvinist and Reformation images cannot see. And he then asks whether we lands, that opened artistic work to ordinary life, really believe God can see and hear—our music and not merely to mythological figures and themes and works of art. He believes that God can, and he depicted in human form: “When it comes to art, quotes Psalm 94:9, which reads, “He that planted neither Greek mythology nor Saints nor heroes are the ear, shall he not hear? He that formed the eye, needed, but in any object of ordinary life a mean- shall he not see?” And of course, Christians talk ing can be perceived by artistic discernment which about singing songs of praise to the Lord. The transforms something that was nothing, into an sounds we make and the things we create are ac- object of wonderment.”39 As we have seen, the cessible to God—it would be nonsense to talk as we beautiful is not narrowly restricted to what might do if we did not believe this. We sing, play, and be called high art but can be present almost any- work on the assumption that God is aware of our where: “Any color, tone, or line can, just as well as a actions. Kuyper argues that all of this—singing, characteristic, mood, thought or deed, be beautiful playing and working—implies that music, draw- in itself.”40 ing, architecture, and poetry etc., have significance From Kuyper’s neo-Calvinist perspective, it fol- to Him and should be done well—by our acquiring lows that human artistic work should neither slav- skills and an implicit knowledge of artistic norms. ishly mimic (broken) reality nor fly into high flung It may seem odd in our present age to speak of fantasies. It is best when it focuses on reality but norms, ordinances, or laws governing artist work

Pro Rege—June 2017 7 and its development. However, Kuyper assumes Modern Life, ed. J.D. Bratt (1998), Abraham Kuyper: that in the process of acquiring or learning a craft A Centennial Reader (Grand Rapids, MI: Eerdmans, or a skill sometimes referred to as being “inducted 1998); Carlisle: Paternoster Press. into a social practice,” or simply learning to do 8. Abraham Kuyper, Calvinisme en de Kunst (Calvinism something special, a person is implicitly becoming and Art) (Amsterdam: J. A. Wormser, 1888). familiar with the norms, laws, and ordinances of 9. Kuyper, Uniformity: The Curse of Modern Life(1869) , how certain things work and do not work. Artistic 35. labor involves using this (sometimes hardly con- 10. Kuyper, Calvinism: Six Stone-lectures (1898), 202. scious) familiarity with norms to create and ar- 11. Kuyper, Uniformity: The Curse of Modern Life (1869), range things into desired patterns, which stimulate, 36. enliven, and speak to their makers and recipients. 12. Ibid., 37. Kuyper believes God is a key recipient.42 13. 1bid. Artistic works, like other human activities, bear the marks of those who make them. Even things 14. Kuyper, Calvinism: Six Stone-lectures (1898), 11. used for destructive purposes are not without 15. Ibid., 13. meaning. Works of art carry meaning and reflect 16. Kuyper, Uniformity: The Curse of Modern Life (1869), attitudes and parts of perspectives of those who 34-35. make them. Each work contributes to an ongoing 17. Henderson, “How Abraham Kuyper Became a conversation and debate about human life, God, Kuyperian” (note 3 [ii] above). and the world. In conclusion, Kuyper asks, “would 18. Kuyper, Calvinism: Six Stone-lectures (1898), 191. it not be both a degradation and an underestimation 19. Ibid., 30-31. of art, if you were to imagine the different branches into which the art-trunk divides itself, to be inde- 20. Ibid., 194. pendent of the deepest root which all human life 21. Ibid., 195. 43 has in God?” 22. Ibid. 23. Ibid., 194. Endnotes 24. Ibid., 195. 1. Abraham Kuyper, Het Calvinisme: Zes Stone-Lezingen (Calvinism: Six Stone-lectures), (Amsterdam/Pretoria: 25. “Calvinism, to the extent that it also put its stamp Höyeker & Wormser, 1898); Kuyper’s English and on our national life outside Calvinist circles in the Dutch works are available online at http://kuyper. narrower sense, rendered this undying service, that ptsem.edu/ it restored art to itself, opened up for art a hitherto unknown world of common everyday life, opened the 2. Kuyper, Calvinism: Six Stone-lectures (1898), 93. artist’s eye to the beauty in the seemingly negligible, 3. Roger D. Henderson, “How Abraham Kuyper and fostered a love of freedom that stimulated the Became a Kuyperian,” Christian Scholars Review, 22.1 passion for art.” (September 1992): 22-35. Also in Abraham Kuyper, 26. Kuyper, Uniformity: The Curse of Modern Life (1868), The Problem of Poverty, ed. and trans. James Skillen 26. (Dordt Press, 2011), as well as On Kuyper, eds. Steve Bishop and John Kok (Dordt Press, 2013). 27. Ibid. 4. Kuyper, Calvinism: Six Stone-lectures (1898), 208. 28. Quoted in “Art and the Public Today,” The Complete Works of Hans R. Rookmaaker Vol. 5 (Carlisle, UK: 5. For critical comments on Kuyper’s idea of aesthetics Piquant, 2003), 187. and beauty, see Calvin Seerveld, for example in his “Dooyeweerd’s Legacy for Aesthetics,” in The Legacy of 29. Kuyper, Calvinism and Art (1888), 27. , ed. C.T. McIntire (Lanha, MD: 30. Kuyper, Calvinism: Six Stone-lectures (1898), 221. University Press of America, 1985). 31. Ibid. 6. Kuyper, Calvinism: Six Stone-lectures (1898), 209. 32. Kuyper, Calvinism and Art (1888), 27. 7. Abraham Kuyper, Eenvormigheid, de Vloek van 33. Kuyper, Calvinism: Six Stone-lectures (1898), 221. het Moderne Leven (Amsterdam: H. De Hoogh, 1869). English translation: Uniformity: The Curse of 34. The vast number of high-quality paintings dating

8 Pro Rege—June 2017 from this period can still be seen in the large and small 39. Kuyper, Calvinism and Art (1888), 23. museums throughout Europe, not to mention the 40. Ibid. countless auction houses and private collections. 41. Kuyper, Calvinism: Six Stone-lectures (1898), 202-202; Calvinism: Six Stone-lectures 35. Kuyper, (1898), 218. 203. 36. Ibid., 220. 42. Ibid., 209. 37. Ibid., 158-159; 218-219 (my translation). 43. Ibid., 203. 38. Ibid., 220.

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