artid121 early medieval art

Europe after the Fall of Rome:Early Art Medieval ArtART ID 111 | Study of Ancient Arts

Slide concept by William V. Ganis, PhD NYIT Center for Teaching and Learning with Technology

With modifications by Arch. Edeliza V. Macalandag, UAP

The Art of the War Lords

-Fusion of Celtic-Germanic culture, Christianity, and the Greco-Roman heritage.

-Historians once referred to the thousand years (roughly 400 to 1400) between the dying Roman Empire's adoption of Christianity as its official religion and the rebirth (Renaissance) of interest in classical antiquity as the Dark Ages.

Early Medieval Art (500-1000 BCE)

“Barbarian” Art

The Art of the War Lords

-Art historians do not know the full range of art and architecture these "barbarian" peoples produced.

-One of its chief characteristics is a highly disciplined sense of abstract decorative design using zoomorphic elements.

-Interlace patterns are integrated with animal forms in the decoration of metal craft ornaments, manuscript decorations, stone sculptures, and wood carvings.

“Barbarian” Art

Frankish Looped Fibula

France

6th - 7th Centuriessilver gilt worked in filigree

with inlays of garnets and other stones

4 in. long

Most characteristic, perhaps, of the

prestige adornments was the fibula, a

decorative pin the Romans (and the Etruscans before

them) favored.

Purse cover from the Sutton Hoo ship burial in Suffolk, Englandca. 625 | gold, glass and enamel cloisonné with garnets and emeralds | 7 1/2 in. long

Scandinavian “Viking” ArtThe pirates of the North

In 793 the pagan traders and pirates known as Vikings (named after the viks - coves or "trading places" - of the Norwegian shorelines) set sail from Scandinavia and landed in the British Isles.

Burial Ship

Oseberg, Norwayca. 825wood75 1/2 ft. long

The art of the Viking sea rovers was

early associated

with ships - wood and the carving of it.

Animal-Head Post

Oseberg, Norwayca. 825woodapproximately 5 in. high

Wood carved portal of the stave church at

Urnes

Urnes, Norway

ca. 1050 - 1070wood

Hiberno-Saxon Art

Christian missionaries

-A style art historians designate as Hiberno-Saxon (Hibernia was the ancient name of Ireland), or sometimes as Insular to denote the Irish-English islands where it was produced, flourished within the monasteries of the British Isles.

Hiberno-Saxon Art

In 432 Saint Patrick established a church in Ireland and began the Christianization of the Celts on that remote island that had never known Roman rule.

Christian missionaries

-Among the notable examples of Early Medieval art in the British Isles are illuminated manuscripts embellished with detailed ornamental patterns of elaborately interlaced abstract and zoomorphic forms.

-Human figures are also reduced to patterns with little understanding of Late Antique pictorial illusionism such as modeling.

-Megalithic Celtic crosses were also carved with interlace patterns and figure panels in relief.

Hiberno-Saxon Art

Man (symbol of St. Matthew)

Book of Durrow

possibly from Iona, Scotland

ca. 660-680ink and tempera on parchment

9 5/8 x 6 1/8 in.

In the Book of Durrow each of the four Gospel books has a

carpet page facing a page dedicated to the symbol of the

Evangelist who wrote that Gospel, framed by an

elaborate interlace border.

Lion (symbol of St. Mark)Book of Durrow

possibly from Iona, Scotland

ca. 660-680ink and tempera on parchment

9 5/8 x 6 1/8 in.

Carpet PageBook of Durrow

possibly from Iona, Scotland

ca. 660-680ink and tempera on

parchment9 5/8 x 6 1/8 in.

An excellent example of the marriage between Christian

imagery and the animal-interlace style of the North is

the cross-inscribed carpet page of the Lindisfarne

Gospels.

Chi-rho-iota page

Book of Kells

from Iona, Scotland

8th - 9th centuriestempera on vellum

13 x 9 1/2 in.

The greatest achievement of

Hiberno-Saxon art in the eyes of almost all

modern observers is the Book of Kells, the most elaborately decorated

of the Insular Gospel books.

Evangelists symbols page

Book of Kells

from Iona, Scotland

8th - 9th centuriestempera on vellum

13 x 9 1/2 in.

This book boasts an unprecedented number of full-

page illuminations, including carpet pages, evangelist

symbols, portrayals of the Virgin Mary and of Christ, New

Testament narrative scenes, canon tables, and several

instances of monumentalized and embellished words from

the Bible.

Matthew and Mark symbolsBook of Kells from Iona, Scotland | 8th - 9th centuries | tempera on vellum | 13 x 9 1/2 in.

Luke and John symbolsBook of Kells from Iona, Scotland | 8th - 9th centuries | tempera on vellum | 13 x 9 1/2 in.

Virgin and Child page

Book of Kells

from Iona, Scotland

8th - 9th centuriestempera on vellum

13 x 9 1/2 in.

Illuminated text from the Gospel of

MarkErat autem hora

terciaBook of Kells

from Iona, Scotland

8th - 9th centuriestempera on vellum

13 x 9 1/2 in.

Cross and Carpet pageLindisfarne Gospels

Northumbria, Englandca. 698 – 721 | tempera on vellum | 13 1/2 x 9

1/4 in.

Saint Matthew pageLindisfarne Gospels

Northumbria, England

ca. 698 - 721tempera on vellum

13 1/2 x 9 1/4 in.

The scribe Ezra

Codex Amiatinus

Jarrow, England

ca. 689-716tempera on

vellum20 x 13 1/2 in.

High Cross of Muiredach(east side)

Monasterboice, Ireland

ca. 92316 ft. high

The medieval artist did not go to nature for models but to a

prototype- another image, a statue, or a picture in a book.

The preserved art of the early Middle Ages is, as has been

noted, confined almost exclusively to small and portable

works. The high crosses of Ireland, erected between the 8th

and 10th centuries, are exceptional in their mass and

scale.

High Cross of Muiredach (east side)

Monasterboice, Ireland

ca. 92316 ft. high

Last Judgment

High Cross of Muiredach(east side) | Monasterboice, Ireland | ca. 923 | 16 ft. high

Weighing of Souls

High Cross of Muiredach(east side) | Monasterboice, Ireland | ca. 923 | 16 ft. high

High Cross of Muiredach (west side)

Monasterboice, Ireland

ca. 92316 ft. high

Crucifixion

High Cross of Muiredach (west side)

Monasterboice, Ireland

ca. 923 | 16 ft. high

High Cross of Muiredach

Monasterboice, Ireland

ca. 92316 ft. high

Arrest of Christ

Mozarabic Art

Visigoths and Muslims

-The Christian culture of Iberia is called Mozarabic and refers to Christians living in Arab territories.

-In 711, Muslim armies brought Islam into Spain.

-In the early fifth century the Iberian peninsula fell to German invaders, most notably, the Visigoths, who had converted to Christianity.

Mozarabic ArtThe Mozarabic style is identifiable only in religious art; in the minor arts—especially textiles, ceramic tiles, and pottery—the style is so close to contemporary Islāmic work that only by the Christian subject matter is it known that the artists were not Arabs.

Visigoths and Muslims

-The conquered Christians were tolerated, although called mustaʿrib (“arabicized,” from which “Mozarab” is derived), and maintained their traditional religion.

-Exposure to Islāmic culture and art forms proved to be influential, however, and their art became a synthesis of the two traditions.

-The subject matter is Christian, but the style shows the assimilation of Islāmic decorative motifs and forms.

-Even those who emigrated to reconquered territory or to other countries continued to produce art and architecture in the Mozarabic style, and it was in part the result of these movements that Arabic influences spread northward into Europe.

Mozarabic Art

Visigoths and Muslims

-The conquered Christians were tolerated, although called mustaʿrib (“arabicized,” from which “Mozarab” is derived), and maintained their traditional religion.

-Exposure to Islāmic culture and art forms proved to be influential, however, and their art became a synthesis of the two traditions.

-The subject matter is Christian, but the style shows the assimilation of Islāmic decorative motifs and forms.

-Even those who emigrated to reconquered territory or to other countries continued to produce art and architecture in the Mozarabic style, and it was in part the result of these movements that Arabic influences spread northward into Europe.

Mozarabic Art

Emeterius

The tower and Scriptorium of San Salvador de Tàbara, colophon (folio

168) of the Commentary on the Apocalypse by Beatus

from Tàbara, Spain

970 C.E.tempera on parchment

1 ft. 2 1/8 in. x 10 in.

The following colophon to the illustrated Commentary on the

Apocalypse presents the earliest known depiction of a medieval scriptorium. Because the artist

provided a composite of exterior and interior views of the building,

it is especially informative.

Stephanus Garsia

Enthroned Christ with 4 Evangelists and the 24 Eldersfolios 121 verso and 122 recto of the Apocalypse of Saint-Sever

from Saint-Sever-sur-l’Adour, France | ca. 1050-1070 | ink and tempera on vellum | 14 1/2 x 22 in.

Stephanus Garsia

Rain of Fire and Bloodfolios 137 verso

Apocalypse of Saint-Sever

from Saint-Sever-sur-l’Adour, France

ca. 1050-1070ink and tempera on vellum

14 1/2 x 11 in.

Carolingian Art

Rome rises again

-The Following his coronation as the new Holy Roman Emperor in 800, Charlemagne sought to revive Roman imperial art, culture, and political ideals.

-Carolingian art consciously emulated Roman models in sculpture and architecture, and sought to revive learning through the increased production of books.

Carolingian Art

On Christmas day of the year 800, Pope Leo III crowned Charles the Great (Charlemagne), King of the Franks since 768, as emperor of Rome (r. 800-814).

The Art of the Book

-Manuscript illumination borrowed a wide variety of styles from Late Antique prototypes.

-In several cases, Classical illusionism was merged with north European linear traditions to produce a distinctive new type of expressive image and new forms of narrative illustration.

-Book covers were also wrought in precious metals and decorated with gems and ivory and figures in relief.

-Charlemagne was a sincere admirer of learning, the arts, and classical culture.

Carolingian Art

Equestrian portrait of Charlemagne(?)

from Metz, France

early 9th centurybronze, originally gilt | 9 1/2 in. high

When Charlemagne returned home from his coronation in

Rome, he ordered the transfer of an equestrian statue of the

Ostrogothic king Theodoric from Ravenna to the Carolingian palace complex at Aachen.

Equestrian portrait of Charlemagne(?)

from Metz, France

early 9th centurybronze, originally gilt | 9 1/2 in. high

St. MatthewCoronation Gospels

Aachen, Germany

ca. 800-810ink and tempera on

vellum12 3/4 x 10 in.

The style evident in the Coronation

Gospels was by no means the only one that

appeared suddenly in the

Carolingian world.

Saint MatthewEbbo Gospels

Hautvillers, France

ca. 816 - 835ink and tempera on vellum

10 1/4 x 8 3/4 in.

Saint JohnEbbo Gospels

Hautvillers, France

ca. 816 - 835ink and tempera on vellum

10 1/4 x 8 3/4 in.

Canon TableEbbo Gospels

Hautvillers, France

ca. 816 - 835ink and tempera on vellum

10 1/4 x 8 3/4 in.

Canon Tables from the Ebbo Gospels | Hautvillers, France

ca. 816 – 835 | ink and tempera on vellum | 10 1/4 x 8 3/4 in.

Psalm 44 of folio 25 recto of the Utrecht Psalter

Hautvillers, France (near Reims)ca. 820 – 835 | ink on vellum | 1 ft. 1 in. x 9 7/8 in.

The Carolingians also revived narrative illustration, so richly developed in Early

Christian and Byzantine art, and produced many fully illuminated books (even some

large Bibles).

Psalm 57 front coverPsalter of Charles the Bald

Denis, France

ca. 865ivory panel set in silver-gilt with filigree work and precious stonespanel 5 1/2 x 5 1/4 in.

cover 9 1/2 x 7 3/4 in.

The Carolingians also revived narrative illustration, so richly

developed in Early Christian and Byzantine art, and

produced many fully illuminated books (even some

large Bibles).

Psalm 57 front coverPsalter of Charles the

Bald

Denis, France

ca. 865ivory panel set in silver-gilt with

filigree work and precious stones

panel 5 1/2 x 5 1/4 in.

cover 9 1/2 x 7 3/4 in.

Psalm 57 front coverPsalter of Charles the Bald

Denis, France

ca. 865ivory panel set in silver-gilt with filigree work and precious stonespanel 5 1/2 x 5 1/4 in.

cover 9 1/2 x 7 3/4 in.

Crucifixion front coverLindau Gospels

Pierpont Morgan Library, New York

ca. 870gold, precious stones and pearls

13 3/8 x 10 3/8 in.

Odo of Metz

Interior of the Palatine Chapel of Charlemagne

Aachen, Germany

ca. 792-805

Carolingian architecture revives Roman building

techniques and forms and is marked by a solid

robustness and a clearly articulated geometric

structure.

The Palatine Chapel at Aachen was modeled on the Byzantine church of

San Vitale at Ravenna but with a simplified the plan.

Odo of Metz

Interior of the Palatine Chapel of Charlemagne

Aachen, Germany

ca. 792-805

Odo of Metz

Interior of the Palatine Chapel of Charlemagne

Aachen, Germany

ca. 792-805

Torhalle (gatehouse)

Lorsch, Germany

9th century

The gatehouse to the Lorsch

Monastery imitates the design of a

Roman city gate but with several

features that mark it as a northern

building

Torhalle (gatehouse)

Lorsch, Germany9th century

9th C. ms. And 20th C. model

St. Gall, Switzerland

ca. 819

The plan for the monastery of Saint Gall was systematically designed using

a module of two and one-half feet to lay out the buildings. Carolingian

churches followed the basilican plan and included numerous towers.

Schematic plan for a

monastery

St. Gall, Switzerland

ca. 819redrawn after a

9th century manuscript

Drawing of the monastery church

of St. Riquier

Centula, Franceca. 800

engraving made in 1612 after a now destroyed 11th century

miniature

Westwork of the Abbey Church

Corvey, Germany

ca. 873-885

Towers incorporated into the fabric of the west end of the building creating a

unified monumental façade. This has been

referred to as westwork in later churches. In

contemporary documents they are referred to as

castelium (Latin, castle or fortress) or turris (tower).

Ottonian Art

After Charlemagne

-30 years after the death of Charlemagne and subsequent to the death of his son Louis, the Carolingian Empire was divided between the sons of Louis.

-The Frankish lands were partitioned into western, central and eastern, roughly foreshadowing the later nations of France and Germany, and a long strip of land stretching from the Netherlands and Belgium to Rome.

Ottonian Art

Only in the mid-10th century did the eastern part of the former empire consolidate under the rule of a new Saxon line of German emperors called the Ottonians.

Nave of the church of St. Cyriakus

Gernrode, Germany

ca. 961-963

Ottonian architects built several large

abbey churches with towering westworks.

In some cases, a modular approach

was adopted in the plan, and an

alternate-support system introduced in

the design of the nave.

Abbey church of St. Pantaleon

Cologne, Germany

ca. 966-980

Abbey Church of St. Michael’s

Hildesheim, Germany

ca. 1001-1031

Abbey Church of St. Michael’s

Hildesheim, Germany | ca. 1001-1031

Abbey Church of St. Michael’s

Hildesheim, Germany

ca. 1001-1031

Abbey Church of St. Michael’s | Hildesheim, Germany | ca. 1001-1031

Abbey Church of St. Michael’s

Hildesheim, Germany | ca. 1001-1031

Abbey Church of St. Michael’s

Hildesheim, Germany

ca. 1001-1031

Doors with relief panelsGenesis, left door - Christ, right door

Hildesheim, Germany

ca. 1001-1031

Ottonian sculpture includes examples of large-scale bronze reliefs and monumental

figural sculpture in wood.

In 1001, when Bishop Bernward was in Rome visiting the young Otto III, he resided in Ottos's palace on the Aventine hill in the

neighborhood of Santa Sabina, an Early Christian church renowned for its carved

wooden doors.

These doors may have inspired the remarkable bronze doors the bishop had

cast for his new church in Germany.

Doors with relief panelsGenesis, left door - Christ, right door

Hildesheim, Germany

ca. 1001-1031

Doors with relief panelsGenesis, left door Christ,

right door

Hildesheim, Germany

ca. 1001-1031

Column with reliefs illustrating the life of Christ

Hildesheim, Germany

ca. 1015-1022 bronze 12 ft. 6 in. high

The great doors of Saint Michael's were not the only large-scale masterpieces of

bronze-casting Bernward commissioned.

Column with reliefs illustrating the life of

Christ

Hildesheim, Germany

ca. 1015-1022 bronze 12 ft. 6 in. high

Column with reliefs illustrating the life of

Christ

Hildesheim, Germany

ca. 1015-1022 bronze 12 ft. 6 in. high

Column with reliefs illustrating the life of

Christ

Hildesheim, Germany

ca. 1015-1022 bronze 12 ft. 6 in. high

Column with reliefs illustrating the life of

Christ

Hildesheim, Germany

ca. 1015-1022 bronze 12 ft. 6 in. high

Crucifix commissioned by Archbishop

Gero

Cologne Cathedral, Germany

ca. 970painted wood6 ft. 2 in. high

Nowhere was the revival of interest in monumental sculpture more evident than in the Crucifix.

Abbess Uta folio 2 of the Uta Codex

Regensburg, Germany

ca. 1025 tempera on parchment

9 5/8 in. x 5 1/8 in.

Manuscript illumination maintains a certain expressiveness, but the

movements and gestures of figures are less naturalistic than earlier Carolingian

examples.

Ottonian artists carried on the Carolingian tradition of producing

sumptuous books for the clergy and the royalty alike.

The Uta Codex illustrates the important role women could play both in the

religious life and as patrons of the arts during the Middle Ages.

Annunciation to the Shepherds

Lectionary of Henry II

from Reichenau, Germany

ca. 1002-1014tempera on vellum

17 x 13 in.

Uta presented her codex about the same time the last Ottonian

emperor, Henry II, died.

He also commissioned a book of Gospel readings

for the Mass, the Lectionary of Henry II, a gift to the Annunciation

of Christ's birth to the sherpards.

Otto III enthroned Gospel Book of Otto

III

from Trier, Germany

ca. 997-1000tempera on vellum

13 x 9 3/8 in.

A picture from the Gospel Book of

Otto III, representing the emperor himself, sums up much of what went before

the points to what was to come.

Tribute of the Provinces

Gospel Book of Otto III

from Trier, Germany

ca. 997-1000tempera on vellum

13 x 9 3/8 in.

Otto III Enthroned Liuthar (Aachen)

Gospels

from Aachen, Germany

ca. 1000ink and tempura on vellum

10 7/8 x 8 1/2 in.

Glossary

Colophon A publisher's emblem printed in a book (usually on the title page)

Filigree Delicate and intricate ornamentation (usually in gold, silver or other fine twisted wire)

Gilt Having the deep slightly brownish colour of goldScriptorium A room in a monastery that is set aside for writing or

copying manuscriptsTempera Pigment mixed with water-soluble glutinous materials

such as size and egg yolkVellum Fine parchment prepared from the skin of a young animal e.g. a calf or lamb

Sources

• http://www.wadsworth.com/art_d/templates/student_resources/0155050907_kleiner/studyguide/ch16/ch16_1.html

• http://websites.swlearning.com/cgi-wadsworth/course_products_wp.pl?fid=M20b&product_isbn_issn=0155050907&discipline_number=436

• http://en.wikipedia.org/wiki/Early_Medieval_art • Art Through the Ages, 12th/11th ed., Gardner