Chapter 3.2 Art of the Middle Ages PART 3 HISTORY AND CONTEXT Copyright © 2011 Thames & Hudson.

Chapter 3.2

Art of the Middle Ages

PART 3HISTORY AND CONTEXT

Copyright © 2011 Thames & Hudson

Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields


Chapter 3.2 Art of the Middle Ages

Introduction

Middle Ages Marks the end of the Classical world

Ends at the beginning of the Renaissance

Medieval End of Roman Empire in the west by 476 CE

The western part of the empire followed the Roman Catholic Church

Byzantium Roman Empire becomes Byzantine empire in the east

Roman capital becomes Constantinople

The eastern part of the empire followed the Greek Orthodox Church




Introduction cont.

Romanesque Begins in the 11th century CE

Period of building large stone churches covered with sculpture

Gothic c. 1150 to the fifteenth century

Known for grand cathedrals




Some stylistic characteristics of art from the Middle Ages:

Expresses spiritual concerns rather than humanist ones

Made to support religion and pilgrimages

Centered around location of relics and important sites

Religious subject matter

Richly decorated manuscripts

Fantastical animal-like forms

Elongated and twisted figures

Grand-scale cathedrals

3.31 Map of Europe and the Middle East in the Middle Ages




Art of Late Antiquity

Marks the transition from the pagan polytheistic religions to three large monotheistic religions:

Judaism • Descendants of Abraham• Yahweh’s (God’s) face is not shown in art• Few examples of Jewish art survive

Christianity• Worships Jesus Christ as the son of God• Second Commandment

Admonishes that Christians should not worship idols Some sects believe that this warns against making images of religious

figures Islam

• Muhammad as main prophet of Allah (God)• Does not show Allah in art, and rarely shows human figures

3.32 Interior west wall of synagogue at Dura Europos, Syria, 244–5 CE. Reconstruction in National Museum, Damascus, Syria

3.33 Exodus and Crossing of the Red Sea, panel from west wall of synagogue at Dura Europos, Syria, 244–5 CE. Reconstruction in National Museum, Damascus, Syria

3.34 Painted ceiling, late 3rd–early 4th century CE. Catacombs of Saints Peter and Marcellinus, Rome, Italy

3.35 Good Shepherd, 425–6. Mosaic in lunette. Mausoleum of Galla Placidia, Ravenna, Italy




Byzantine Art

Emperor Justinian great patron of the arts Funded Hagia Sophia, Constantinople

Protected icons at monastery of St. Catherine, Mount Sinai, Egypt

Mosaic Made from glass tesserae

Often placed in Byzantine churches to reflect light

Icons Encaustic paintings on wood

Venerated, believed to possess powers of healing




Some stylistic characteristics of Byzantine art:

Christian subject matter

Small icons promote personal mediation

Glass mosaics made for churches

Floating figures in which line is emphasized rather than volume

Flat spaces with minimal sense of depth

Light an important element for churches and mosaics

Frequent use of gold, especially in the background

Empty background to signify no connection to a specific time or place

3.36 Christ icon, 6th century. Encaustic, 33 × 18”. St. Catherine Monastery, Mount Sinai, Egypt

3.37 San Vitale, apse, c. 547, Ravenna, Italy

3.38 Theodora and Attendants, c. 547. Mosaic on south wall of apse, 8’8” × 12’. San Vitale, Ravenna, Italy




Manuscripts and the Middle Ages

Books written and decorated by hand

Artists and scribes were often monks

Beauty and detail of manuscripts encouraged long contemplation

3.39 Page from the Koran, probably late 12th century. Maghribi on vellum, 7½ × 7½”. British Library, London

3.40 Cross-carpet page introducing the Gospel according to St. Matthew. Lindisfarne Gospels, fol. 26b. British Library, London, England

3.41 Detail of 3.40

3.42 The Fifth Vision of Hildegard of Bingen, frontispiece for Liber Scivias, c. 1230, original manuscript lost. Biblioteca Governativa, Lucca, Italy

3.43 The Ascent of the Prophet Muhammad on his Steed, Buraq, Guided by Jibra’il and Escorted by Angels, 1539–43. Miniature painting from a manuscript of Nizami’s Khamsa (Five Poems), originally produced in Tabriz, Iran




Pilgrimage in the Middle Ages

Central to the practice of Judaism, Christianity, and Islam

Pilgrims traveled to: Places where relics were kept

Sites of important religious events

3.44 Reliquary of the Head of St. Alexander, 1145. Silver repoussé, gilt bronze, gems, pearls, and enamel, 7½” high. Musées Royaux d’Art et d’Histoire, Brussels, Belgium

3.45 Dome of the Rock, 688–91, Jerusalem, Israel

3.46 Kaaba, Al-Masjid al-Har¯am, Mecca, Saudi Arabia

3.47 Mihrab from the Madrasa Imami, Isfahan, Iran, c. 1354. Mosaic of polychrome-glazed cut tiles on stonepaste body, set into plaster, 11’3” × 9’5¾”. Metropolitan Museum of Art, New York




Symbolism in Medieval Churches

Imagery used to teach the faithful stories from the Bible

Many parishioners and pilgrims were illiterate

3.48 St. Trophîme, west portal with tympanum, 12th century, Arles, France




St. Trophîme, west portal with tympanum

Last Judgment Placed above entrance and exit to church Blessed on Christ’s right; damned on his left

Christ Hierarchical scale Central position

Four Evangelists: Matthew (angel) Mark (lion) Luke (ox) John (eagle)

3.49 Diagram of the west portal tympanum in 3.48




Medieval Church Plans

Churches were sites of relics and made for pilgrimages

Romanesque churches Some architectural features reminiscent of ancient Rome

Pointed arch a new aspect at this time

Use of tympanum

3.50 St. Sernin, c. 1070–1120, Toulouse, France




St. Sernin, Toulouse, France

St. Sernin Church Designed in shape of Latin cross Entrance on the west; entrance on the east Towers show generations of building Bell tower shows evolution of pointed arch in upper levels Entrance on the west via a portal featuring Last Judgment

tympanum Altar to the east

3.51 Latin cross plan




The Rise of the Gothic

Gothic architecture Increased height

Rib vaults

Flying buttresses

3.52 Chartres Cathedral, completed 1260, France

3.53 Chartres Cathedral, interior view showing labyrinth




Click the image above to launch the video

The Gothic Cathedral of ChartresTo see more of this beautiful and dramatic building, watch:

3.54 Cimabue, Virgin and Child Enthroned, c. 1280. Tempera and gold on wood, 12’7½” × 7’4”. Uffizi Gallery, Florence, Italy

3.55 Giotto, Virgin and Child Enthroned, c. 1310. Tempera on wood, 10’7”× 6’9”. Uffizi Gallery, Florence, Italy

Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields Copyright © 2011 Thames & Hudson



Discussion question

1. The Middle Ages was a time of strong religious belief. Select two artworks, each made for believers of a different religion, and contrast how the artist has emphasized the religious elements of the artwork.




Discussion question

2. Compare the architecture of a Gothic cathedral with that of an Islamic mosque. How does the architecture of each reflect the beliefs and rituals of its worshipers?




Discussion question

3. Select one two-dimensional artwork (paintings, mosaics, manuscripts) from the West and one from the Byzantine tradition. Contrast the form and content of the two artworks.

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This concludes the PowerPoint slide set for Chapter 3.2

Gateways to Art: Understanding the Visual Arts By Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields

Copyright © 2011 Thames & Hudson

PowerPoints developed by CreativeMyndz Multimedia Studios



3.31 Drazen Tomic

3.32, 3.33 Zev Radovan/www.BibleLandPictures.com

3.34 Canali Photobank, Milan, Italy

3.35 Photo Scala, Florence

3.36 Monastery of St. Catherine, Sinai, Egypt

3.37 Photo Scala, Florence

3.38 Cameraphoto/Scala, Florence

3.39, 3.40, 3.41 British Library, London

3.42 Biblioteca Governativa, Lucca

3.43 British Library/akg-images

3.44 Musées Royaux d’Art et d’Histoire, Brussels

3.45 © Hanan Isachar/Corbis

3.46 Mohamed Amin/Robert Harding

3.47 Metropolitan Museum of Art, Harris Brisbane Dick Fund, 1939, Acc. no. 39.20. Photo Metropolitan Museum of Art/Art Resource/Scala, Florence

3.48 © Matthew Lambley/Alamy

3.49 Ralph Larmann

3.50 © Rolf Richardson/Alamy

3.51 Ralph Larmann

3.52 Hervé Champollion/akg-images

3.53 Sonia Halliday Photographs

3.54, 3.55 Galleria degli Uffizi, Florence

Picture Credits for Chapter 3.2

Chapter 3.2 Art of the Middle Ages PART 3 HISTORY AND CONTEXT Copyright © 2011 Thames & Hudson.

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Transcript of Chapter 3.2 Art of the Middle Ages PART 3 HISTORY AND CONTEXT Copyright © 2011 Thames & Hudson.