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Martin Schongauer, St. Anthony Tormented by Demons, c. 1480-90

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Martin Schongauer, St. Anthony Tormented by Demons, c. 1480-90

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15th Century Flanders

In comparison to the difficulty of carving a relief design into a woodblock, the technique of engraving allowed skilled artists to create magnificently detailed and stylistically varied compositions without the fear of producing too narrow of lines that would break under the pressure of a mechanical press. One of the greatest engravers in renaissance Europe was Martin Schongauer. His St. Anthony Tormented by Demons shows off his versatile engraving technique.

To produce different textures, Schongauer used a variety of marks, such as long, curling lines to render the soft fur on the demon brandishing a club short U-shaped lines to create the scales of the creature grabbing Anthony’s left arm. By incorporating passages of dense cross-hatching across Anthony’s body, Schongauer also gave his figure a three-dimensional presence on the flat paper surface.

Intaglio
Unlike the relief process of woodcut, an engraving is produced by sculpting into a copper plate using a tool with a lozenge-shaped tip called a burin, which leaves behind a V-shaped groove. Once the design has been fully incised, the entire surface of the plate is inked. Next, the plate will be wiped clean so that only the ink deposited into the incised lines will remain. Now the matrix is ready to be run through the printing press with a damp sheet of paper. The pressure from the press pushes the paper into those grooves and picks up the ink, resulting in a mirror impression of the image engraved on the copper plate.

Michaelangelo copied it.

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 Rogier van der Weyden. Descent from the Cross . ca. 1435 

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 Rogier van der Weyden. Descent from the Cross . ca. 1435 

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15th Century Flanders

Oil gives stereoscopic feeling versus the flat tempura

Christ's body is echoes in Mary's body

Everyone's crying

Skull to remind of adam

Detail in fabrics

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Jan van Eyck. The “Arnolfini Portrait.” 1434 

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Jan van Eyck. The “Arnolfini Portrait.” 1434 

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15th Century Flanders

In the mirror you see a red turban in distance and backs of the couple and witnesses

Jan van Eyck was here

Used to be the marriage of Arnolfini

Lots of symbolism of a marriage

Style of dress at the time (green for wedding dresses, fertility)

His hand is raised as if he's making a vow

Dog symbolic of fidelity and loyalty

He has shoes off like he's in holy ground

Amber bead in background- symbol of chastity

Little roundels in mirror that has passion week

Mirror is all seeing eye of God witnessing

Only one light burning (Christ light of the world)

Oranges in background show wealth bc they had to be imported

The bed post= patron saint of childbirth

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Hubert and Jan van Eyck. Ghent Altarpiece (open and closed), 1432

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Hubert and Jan van Eyck. Ghent Altarpiece (open and closed), 1432

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15th Century Flanders

Polyptych= many panels

Grisaille= using only values of black, gray, and white

Most stolen artworks in history

Annunciation with empty space between (the panel casts a shadow)

Old testament prophets on top

Donors in color

Two Johns in grisaille

Open

Like the whole plan of salvation

Creation with Adam and Eve

The Fall

The Atonement (lamb bleeding on an altar

Microscopic yet telescopic view of the world

God the Father as a physical being (before he was just a hand)

Two crowns

Surrounded by Mary and John and angels

Jan signed it saying his brother was the better artist (brother died)

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Workshop of Robert Campin. Mérode (Annunciation) Triptych . ca. 1425–30

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Workshop of Robert Campin. Mérode (Annunciation) Triptych . ca. 1425–30

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15th Century Flanders

Tryptych: A religious picture with one central panel and two hinged wings

Small altarpiece, probably for in the home (25 in square when shut)

Joseph working on one side

Creating mouse traps, symbolic

Augustine wrote that the cross was the mousetrap that caught Satan

The donors/patrons on the other side

Naturalism in head covering, little pin

The setting is a contemporary home in Belgium

Mixing biblical with contemporary

Intense love of detail

Symbolism: Naked angel coming in window right to mary's womb, Lily on the table shows Mary's purity, candle burned out (Satan's influence extinguished), vessel for water= Mary as vessel for living water

Oil paint allows for layering because it dries slowly, more range of colors

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International Gothic

Love of pattern

Personal Diptych for the King (King Richard II of England)

King is in it

Three Saints behind him

John the Baptist,

The angels wear a stag (the king's symbol)

Tooled Gold

Richard aspires to the piety of English Kings before him

The king receives a right to rule from the Virgin and the child

Mixing Biblical with contemporary by putting The King in the picture

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Limbourg Brothers. January, Les Très Riches Heures du Duc de Berry. 1413–16

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Limbourg Brothers. January, Les Très Riches Heures du Duc de Berry. 1413–16

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International Gothic

Book of Hours (Calendar book as well as a prayer book)

Shows the holy days for the month

Lapis lazuli blue

Elegant, sumptuous

Duke of Burgundy is in it himself (patron)

New Year's feast

Salt seller (only the wealthy had salt)

Lots of attention to detail, love of pattern

Has peasants depicted on other months

Even the peasants are taken care of and doing well

Blowing on fingers (atmosphere in nature)

Looks like dancing

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Hieronymus Bosch, The Last Judgment, c. 1482

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Hieronymus Bosch, The Last Judgment, c. 1482

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15th Century Flanders

Tryptych would be opened on feast says

Saint on front in grisaille (Actual people not sculpture/imitating stone)

St. Bavo distributing Alms

St. James associated with pilgrimage

The coat of arms is blank (donor died?)

God in Heaven with rebellion of angels underneath, Eve's creation under that, Temptation above and expulsion of Adam and Eve (origin of original sin)

Disobedience of God, Expelling from presence of God

Deeply pessimistic philosophy of sin (no hope for redemption from original sin)

Central panel

Angels announcing end of time, Christ as judge

Most of the panel is limbo with the 7 deadly sins

Torture by devils

Music as a sign of indulgence

Right panel

Hell itself

Satan sits in mock judgement

Toads which often torture in last judgement

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Giotto. The Lamentation, Arena (Scrovegni) Chapel, Padua. 1305–06. Art in 13th and 14th Century Italy.

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Giotto. The Lamentation, Arena (Scrovegni) Chapel, Padua. 1305–06. Art in 13th and 14th Century Italy.

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Often the point of art is the make the viewer feel something specific. This fresco is different because it allows space for everyone’s version of grief. It shows that everyone feels things differently and even celebrates it. We see some mourners touch Christ for comfort, and some keep their distance. Some pull their hair or express anger. Some don’t show much emotion and only mourn quietly, with some not even showing their faces. Some mourners won’t even look at Christ while some have visceral pain on their faces. With the people with their backs turned it kind of distances the viewer. We feel like we are looking in on a very private moment, but we still grieve with them. I love that this piece details the full range of human emotions within the context of grief.

There is even a sense of dramatic irony in the piece. The mourners are inconsolable and you feel the heartbreak in Mary as a mother. The weight of the figures reflects the heavy emotional weight of the scene. They don’t know that Christ will rise again in 3 days. They don’t see the paintings after this one that show triumph over death. In this way, we are a bit like God when viewing the work. We know exactly what kind of hope and glory and joy will follow, but all they can see is what is in front of them: a crucified savior, a symbol of destroyed hopes. In a hopeless moment, we are able to look to the mountain moving up the back of the piece knowing that there is more after this dark moment. I have to remember that I don’t have all the answers and I can only see one perspective, but God (the viewer, the Creator) can see all of the beauty to come.

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Claus Sluter. The Well of Moses, 1395–1406 

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Claus Sluter. The Well of Moses, 1395–1406 

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International Gothic (15th Century Northern Europe)
Continuation of gothic courtly style

Royalty commissioning art

Almost free standing statues

Weight and bulk

Individualism

Prophets who prophesied of Christ's birth and death

Above was Christ being crucified (destroyed)

I am the living water.

Moses has horns= coming down from mount that says the rays of light coming from his head - translates to light or horns

Once painted

King David

Commissioned by a duke

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 Ambrogio Lorenzetti. Allegory of Good and Bad Government, Palazzo Pubblico, Siena. 1338–40

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 Ambrogio Lorenzetti. Allegory of Good and Bad Government, Palazzo Pubblico, Siena. 1338–40

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13th and 14th Century Italy

Fear of corruption, changed out leaders every 2 months

Secular art

People are happy and productive

Real landscape that looks like Siena

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13th and 14th Century Italy

Combines previous influences

Gothic, Byzantine, Classical

Duccio's student

Elegance (Gothic courtly style)

Over lifesize

Love of pattern and detail

Words coming out of his mouth

Tempura with gold leaf

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Duccio, Annunciation of the Death of the Virgin, from the Maestà Altar.  Museo dell’Opera del Duomo, Siena 1308-10

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Duccio, Annunciation of the Death of the Virgin, from the Maestà Altar.  Museo dell’Opera del Duomo, Siena 1308-10

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13th and 14th Century Italy

Annunciation of the Death of the virgin

On the back

Lilies represent purity but her lilies are dead

Trying to think of space, but wrong

The legs of the stand are wonky

Angel doesn't fit in space right

Seat on top of the baseboard

Drastic converging (linear perspective not there yet)

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Duccio. Madonna Enthroned, center of the Maesta Altar. 1308-11

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Duccio. Madonna Enthroned, center of the Maesta Altar. 1308-11

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13th and 14th Centry Italy

Byzantine, Gothic, Classical

Paraded in town to show off their great artist.

Maesta=majesty, Queen in heaven

All the stories of Christ on front and back.

Mary surrounded bby saints, angels, prophets

Elegance, Knee poking out

Individualism in angels

Decorative line

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13th and 14th Century Italy

Huge altar piece 9ft

Gothic frame, architecture

Clear sense of space: angels overlap, throne, step

Roman: fake stone painting

Sense of body: modeling light and dark (chiarascuro)

Point of view of the viewer is taken into consideration (look up and look down, tilted)

Byzantine background

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Cimabue. Madonna Enthroned. ca. 1280–90 

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Cimabue. Madonna Enthroned. ca. 1280–90 

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Art in 13th and 14th Century Italy

Bulls head nickname

9 ft tall

Mary as a human with her child and as the queen in heaven

Byzantine: gold background, stylized folds, tiny feet, byzantine nose

Classical: see knees, depth in seat, concave depth, arches

Gothic frame

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Andrea Pisano. South doors, baptistery of San Giovanni, Florence. 1330–36

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Andrea Pisano. South doors, baptistery of San Giovanni, Florence. 1330–36

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Art in 13th and 14th Cent Italy

Classical did bronze doors for important buildings

Doors are an update on an older building

Scenes are all about John the baptist

The Baptism of Christ

Sprinkling

Christ as nude

Classical: nude, bronze doors

Sign of the dove

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Arnolfo di Cambio. Florence Cathedral. Begun ca. 1294 (nave, plan)

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Arnolfo di Cambio. Florence Cathedral. Begun ca. 1294 (nave, plan)

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Art in 13th and 14th Century Italy

Hole there, no dome at this time (didn't know how to do it), no trees that long, octagonal

Three apses

Gothic: Pointed arches, clerestory, aisles, nave arcade

Not Gothic: Spacious width wise not height wise, emphasis on horizontal

Symbol of the wealth and prosperity in Florence

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Nicola Pisano. Pulpit. 1259–60 (plus reliefs by Nicola and Giovanni Pisano)

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Nicola Pisano. Pulpit. 1259–60 (plus reliefs by Nicola and Giovanni Pisano)

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Art in 13th and 14th Century Italy

Classical: column, detailed relief carving with depth, folds

Gothic: Trefoil, columns standing on backs of animals

Fortitude

Allegorical figure

Biblical or mythological character (Adam or Daniel, Hercules)

Squatty

Nude (not a christian idea)

Contrapposto

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Altarpiece of St. Francis of Assisi/ St. Clare

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Altarpiece of St. Francis of Assisi/ St. Clare

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Art in the 13th and 14th Century
Bonaventura Berlinghieri, St. Francis of Assisi, 1235

Apron scenes

Flings off rich clothes and renounces riches

Miracles in life and posthumously

Preaching and even the bird listen

Receives the stigmata (sign of wounds in his hands and feet)

Byzantine

Dangling feet, Gold, Long nose (byzantine face), Elongated body, flatness, straightness of body

Italians love painting altarpieces, tempura and gold leaf

Over life size

Altarpiece of St. Clare ca 1280

Poor Clare's

Female version of Franciscan order

Byzantine

Dangling feet, Gold, Long nose (byzantine face), Elongated body, flatness

Italians love painting altarpieces, tempura and gold leaf

Over lifesize

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Gothic

Roettgen=city, pieta=word for Mary holding her crucified son, pity or piety

Blood physically carved and painted bursting out of his side and down his arms

Lack of proportion pushes the feeling of emotion

Gut wrenching spirit

Michaelangelo inspired and did his own pieta

German tradition of expressive art

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Ekkehard and Uta, Naumberg Cathedral, ca. 1249-55

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Ekkehard and Uta, Naumberg Cathedral, ca. 1249-55

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Gothic Outside of France, International Gothic

Painted

Really human and individual (less like previous gothic art)

Lived 200 yrs earlier

Original patrons of the original church

To promote donating to the church for building update campaign

Direct gaze

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Chapel of Henry VII, Westminster Abbey, London. 1503–19

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Chapel of Henry VII, Westminster Abbey, London. 1503–19

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Gothic Outside of France/International Gothic

More fan vaulting

The kings chapel (procession and pageantry

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Salisbury cathedral (from the southwest) (spire ca. 1320–30)

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Salisbury cathedral (from the southwest) (spire ca. 1320–30)

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Gothic Outside of France/International Gothic

England

Not as tall, flying buttresses for looks

Façade wider than the nave

Tall crossing tower rather than westwork

Two transepts

As the style spread new areas take their own liberties with it.

Square apse, no ambulatory (not a pilgrimage church, walk all around not needed)

Don't have the colonettes that go all the way up- horizontal feel

Has cloister

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Cathedral of Notre-Dame, Paris. ca. 1200–50

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Cathedral of Notre-Dame, Paris. ca. 1200–50

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High Gothic

Sturdy, Symmetrical, Ascending, Lacey

Gargoyles- water spouts, guardians to ward off evil spirits (apotropaic device)

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Melchizedek and Abraham, from the Psalter of St. Louis. 1253–70 

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Melchizedek and Abraham, from the Psalter of St. Louis. 1253–70 

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Courtly Style

Book of psalms

"Type" of christ - melchizedek

Offering him bread and wine

Dressing the characters in medieval clothes with chainmail (wanted to see themselves in the stories)

Bread and wine prefigure the sacrament

Courtly style

Building behind looks like sainte-chapelle

Rich Materials

Elegant poses, Gothic sway (almost like in a dance)

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Cathedral of Notre-Dame, Reims (exterior, portal sculptures)

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Cathedral of Notre-Dame, Reims (exterior, portal sculptures)

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High Gothic

Lacier, Portals sticking out (more sculptural), really high points, taller windows in mid levels, windows around rose window, vertical emphasis (almost no horizontal)

Annunciation and Visitation

Jamb statues don't look like columns anymore (more independent)

Right two statues (knee, feet aren't dangling, super detailed drapery)- Roman temple in Reims

Left Two statues Mary and Gabriel

Heads two different sizes, Mary is more columnar, he has contrapposto and expressive

Slight gradual move to more physical less spiritual

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Pointed arches

Ribbed groin vaults

Flying buttresses

Nave

Transept

Crossing

Aisles

Ambulatory

Nave arcade

Gallery

Triforium

Clerestory

Compound piers

Westwork

Jamb statues

Cult of Mary

Gothic “sway”

Stained glass

Tracery windows

Rayonnant or Court Style

Flamboyant Style

Fan Vaulting (England)

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North Transept

180 original stained glass windows

The most original stained glass of any church of the time

Saved during WW1

Everything centered on Mary

Notre Dame de la Belle Verriere

Our lady of the beautiful window

Surrounded by angels

Jewel Box-esque

People who wouldn't have colors in their lives see explosion of color at church

Sauter glass together then paint onto the glass

Purposes of Stained Glass Windows:

To beautify the church

To teach the scriptures

To light the church

To transform the material stone into immaterial

The light reflects onto the walls and they dissolve

To transport the viewer to “the heavenly Jerusalem”

Take the viewer out of the slime of the earth into elevated space

Emphasized geometry

Read from bottom up, storytelling

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Jamb statues south transept portal

Less elongated, slightest bit of swing in hips, actually standing (less floating), more individualized, more like people

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Jamb Statues, west portal (done first-beginning of new church)

Tall, elongated, floating, static/calm (Romanesque was more action and dramatic), in a heavenly realm

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Coronation of the Virgin (tympanum); Dormition and Assumption of the Virgin (lintel), north portal of cathedral of Notre-Dame, Chartres. ca. 1210

Dormition of Mary- on her deathbed

Assumption- Angels lifting her into heaven and is crowned queen of heaven

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Cathedral of Notre-Dame, Chartres, France. ca. 1145–1220 (outside, inside, plan, portal and jamb sculptures, stained glass windows)

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Cathedral of Notre-Dame, Chartres, France. ca. 1145–1220 (outside, inside, plan, portal and jamb sculptures, stained glass windows)

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Gothic

(Left spire is from 16th century)

Non matching spires (built over hundreds of years, westwork finished last)

Notre-Dame (our lady)

Emphasis on Mary worship

Relic of Mary's robe she was wearing when she gave birth to Jesus. (Does match up with 1st century)

Start out with Romanesque ish portals but the rest of the church is Gothic.

Parthenon similarities: math, golden ratio, perfect math

Start adding entrances in the transept

Double aisle in the ambulatory, open ambulatory

Apsidal chapels

Pointed groin vaults- everything points to the heavens

Triforium=gallery but you can't walk in it (decorative)

Clerestory comes back

Flying buttresses

Big round windows= rose windows (on transept)

Still do portal sculpture

Gothic bc: Recessed, Pointed arch, Thematically less terror (little friendlier), Jamb statues of Kings and Queens from bible (show how monarchy is holy just like biblical royalty)

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Abbey church of Saint-Denis, France. 1140–44 (outside, ambulatory, and plan)

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Abbey church of Saint-Denis, France. 1140–44 (outside, ambulatory, and plan)

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Early Gothic

Gothic period started when Abbot Suger built St. Denis in Paris in 1144.

Made buildings look weightless.

West façade of abbey church of Saint-Denis. ca. 1137–40

The Romanesque version that the Abbot wanted to update

Round arches

Dark and Heavy

Wanted to Lighten things up

Ambulatory of abbey church of St. Denis

Ribbed groin vault

Pointed arches

Can make it taller, feels lighter, can fit any width of column

Force of the weight channels down not just out

Opens things up, allows for a thinner column

No longer separate apsidials

Buttresses coming out the side

St. Denis was the burial place for the French royal family

To express the power of the French monarchy (monarchy and church really interconnected.

Windows created a heavenly space

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St. Etienne, Caen, France (façade, plan, nave)

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St. Etienne, Caen, France (façade, plan, nave)

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Romanesque

William the conqueror was buried here

Some buttressing sticking out

Sections of threes in westwork

100 yrs to be complete

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Durham Cathedral, England. 1093-1130 (plan, nave, transverse section)

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Durham Cathedral, England. 1093-1130 (plan, nave, transverse section)

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Romanesque

In England, but in Norman style (William Conqueror)

Clerestory and Ribbed Groin vaults

Heavy piers with interesting patterns (metalwork-esque)

Compound piers

Buttressing

Septpartite groin vaults

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Romanesque

Embroidery of wool thread on linen

230 ft long

Story of William the conqueror who defeated Harold after the death of Edward

See Haley's comet near Harold's coronation

Boats in the border foreshadowing the Battle of Hastings

Active and dynamic

Little storytelling and symbols in the borders (Aesop's fables, scenes of life)

Artists were women likely

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Speyer cathedral, ca. 103-61; vaulted ca. 1080-1106 (interior)

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Speyer cathedral, ca. 103-61; vaulted ca. 1080-1106 (interior)

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Romanesque
Germany

Early Romanesque: Tall stone walls, Basilica, there's a clerestory with wooden roof

Figured out how to do stone vaulted ceiling and the clerestory (unified space)

Buttresses and groin vaults (one vault is too heavy and pressure)

Channel the pressure down to corners instead of just all along the sides

Still round roman arches

Traditional shape

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Baptistery of San Giovanni, Florence, Italy. Ca. 1060-1150

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Baptistery of San Giovanni, Florence, Italy. Ca. 1060-1150

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Romanesque

Popular to use two different colors of stone alternating bands

Octagon = 8 sides = the rebirth that comes with baptism, World created in 7 days and day 8 is new beginning

St. John the Baptist

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Baptistery, cathedral, and campanile. Pisa, Italy. 1053–1272

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Baptistery, cathedral, and campanile. Pisa, Italy. 1053–1272

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Romanesque

Could only enter the cathedral if you were baptized

Baptistry has added gothic piece, but roman arches and columns

Cathedral-Roman arches, pediment

Bell tower- covered with series of arches on each level

Even while building tried to correct it bc it was leaning

Stabilized in 2008- been moving since it was built

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Mouth of Hell, from the Winchester Psalter. Winchester, England. ca. 1150

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Mouth of Hell, from the Winchester Psalter. Winchester, England. ca. 1150

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Romanesque

From a psalter- book of psalms

Long and exaggerated, dangling feet

Similarity to where the wild things are

Scaring people, creative demons

Royalty, Monks- anybody could be here, no one is free from the fate of hell

Mystery plays with an engineered hell mouth contraption with fire, smoke, smell and loud noises

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St. John the Evangelist, from the Gospel Book of Abbot Wedricus. ca. 1147

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St. John the Evangelist, from the Gospel Book of Abbot Wedricus. ca. 1147

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Romanesque

Eagle

Border/frame with medallions showing the story of John

Guy holding inkwell for John= The Abbot, taking part in process of revelation

John holding quill and knife for sharpening

John interactive with medallions

Hand of God giving John peace and inspiration from a dove (the spirit)

Metal work: Border interlacing, gold, flat pattern, the throne, colors, cross shape, corner designs

Classical: the idea of folds in drapery even though they are abstract, the border patterns

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Last Judgment portal by Gislebertus, cathedral of Saint-Lazare, Autun, France. Ca. 1120-35

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Last Judgment portal by Gislebertus, cathedral of Saint-Lazare, Autun, France. Ca. 1120-35

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Romanesque

Archivolts with zodiac signs

Meant to bring terror

Four angels blowing trumpets to wake up the dead

Underground waking up

Funny bending knees/accordion bodies

Four saints

Jesus with mandorla and nimbus

Michael the archangel and demon trying to fix scales for people to go to hell

Souls being awakened from the dead are nude

Guys with scallop shell to show he's a pilgrim

Cathedral to Lazarus

Cathedral=chair/bishop's seat (specific kind of church)

Gislebertus, Eve

Snakelike, down on the ground, snakelike imagery

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Romanesque Portal ensemble

Lintel

Jambs, jamb columns-thin columns

Trumeau= sculpture between doors

Tympanum=half circle above entrance for sculpture

Voissours

Series of arches=archivolts

Spandrels=triangle shapes on the outside of the arch

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 Trumeau and jambs, south portal, church of Saint-Pierre, Moissac

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 Trumeau and jambs, south portal, church of Saint-Pierre, Moissac

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Romanesque
Trumeau and Jambs

Jeremiah/Isaiah legs crossed (elongated with stylized drapery) with crossed lions

Expressive and new style of art

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South portal with Second Coming of Christ on tympanum, church of Saint- Pierre, Moissac. ca. 1115-30

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South portal with Second Coming of Christ on tympanum, church of Saint- Pierre, Moissac. ca. 1115-30

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Romanesque

Scalloped jamb

Would've been painted

Scripture in Revelations

Throne, Rainbow, 24 elders (individualized, different nationalities), sea of glass, four beasts as four gospels

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Cathedral of Santiago de Compostela, Spain. ca. 1075–1120 (inside, outside, plan)

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Cathedral of Santiago de Compostela, Spain. ca. 1075–1120 (inside, outside, plan)

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Romanesque

Start in westwork, travel around aisle to the apse and see relics

Nave bay 2x aisle bay, Crossing is 4x nave bay

Little apsidioles for relics

Crossing tower

Has an upstairs gallery, Roman barrel vault, great acoustics, dark

Heaviness, fortress

Compound piers (columns in a bunch)

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Nave and choir, church of Sant Vicenc, Cardona, Spain. ca. 1029-1040

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Nave and choir, church of Sant Vicenc, Cardona, Spain. ca. 1029-1040

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Romanesque

Up until then flat ceiling, Now barrel vault ceiling (not concrete, stone)

Advantages of stone barrel vaults vs wooden trussed roofs

Doesn't burn (Lots of churches had been burned)

No rot, lasts longer, sturdier

Acoustics were great

Could be built taller and wider

Disadvantages of stone barrel vaults vs wooden trussed roofs

Less Light, can't put clerestory in barrel vault bc of pressure

Looks like a fortress, symbolized church as fortress, safety

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"Pilgrimage and Judgement Day"
ca. 1050-1150 AD

What does 'Romanesque' mean?

Roman-like

In architecture, but nothing else

Things are more stable (better roads, more trade) = more travel = pilgrimage + crusades

Pilgrimage

March 15

#1 spot= Jerusalem, but too far and dangerous and held by Muslims

#2 spot Rome (patron saints Peter and Paul, but too far and dangerous

3rd best but most popular is in Spain Santiago de Compostela

Why go to Spain?

James preaching in Spain, went back to Rome and was martyred, body washed up in Spain

Relic: Any part of a holy figure

Why go on a pilgrimage?

1. to express Christian devotion 2. to purify the soul and perhaps even  produce miraculous healing benefits.

3. to reduce time in purgatory

4. to gain forgiveness for a sin or crime

5. to travel and see some of the world

The routes together look like a shell (symbol of pilgrimage)

Santiago de Compostela

barrel vault

compound piers

bays

apsidiole

ambulatory

transept

crossing

narthex

nave

reliquary

cloister

tympanum

trumeau

jamb

groin vaults

campanile

mandorla

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Early Medieval, Ottonian

Expressive, different from Carolingian one

Really suffering, weight of body hanging down

Monumental, life size, freestanding

Wood

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Manuscript pages from the Gospel of Otto III, 997-1000

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Manuscript pages from the Gospel of Otto III, 997-1000

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Early Medieval, Ottonian

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Doors of Bishop Bernward, Hildesheim

Lost wax method, in two casts

Typology

Left: Old Testament, Genesis, Right: New Testament

Thematic similarity in registers

Accusation and Judgement on Adam and Eve

Expressive, stylistically not very Roman

Head are in higher relief and poke out

Ashamed, God leaning in, Adam pointing to Eve, Eve pointing to snake

| Temptation and Fall   | vs.  | Crucifixion
| Tree of knowledge of Good and Evil/ Tree of Life |   | Cross
| Adam and Eve | | |Similarity in composition | Roman soldiers|   | In Adam all men die, in Christ all shall be made alive |

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St. Michael’s Hildesheim, Germany (exterior, plan, doors) 

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St. Michael’s Hildesheim, Germany (exterior, plan, doors) 

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Early Medieval, Ottonian (ca. 950-1000)

Two transepts, Basilica plan, Four towers

Flat roof, one long nave, two aisles and columns

Bishop took trip to Rome and saw bronze doors

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St. Matthew, from the Gospel Book of Archbishop Ebbo of Reims. Ca. 816-35

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St. Matthew, from the Gospel Book of Archbishop Ebbo of Reims. Ca. 816-35

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Early Medieval, Carolingian

Expressive, movement, energetic

Dr. Suess style

Shorthand versions of interlacing/patterns/icanthus leaves

Skeleton of Roman arch, Greek temple

Abstract, but naturalism in leg/shadow

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St. Matthew, from the Gospel Book of Charlemagne (Coronation Gospels). ca. 800-10

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St. Matthew, from the Gospel Book of Charlemagne (Coronation Gospels). ca. 800-10

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Early Medieval, Carolingian

Similar to past Roman model of philosopher/prophet

Nimbus (only flat part), pose

Roman style similar to past frescoes

Use of shadow makes it less cartoonish (more full, depth)

Groundline, feet are resting

Big eyes

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Equestrian Statue of a Carolingian Ruler (Charles the Bald?). 9th century

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Equestrian Statue of a Carolingian Ruler (Charles the Bald?). 9th century

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Early Medieval, Carolingian

Charlemagne = Carolus Magnus = Charles the Great

Unified much of Europe

France, ruled from now Germany (Frankish)

Holy Roman Emperor Christmas day 800 AD

Equestrian Statue of a Carolingian Ruler

Charlemagne or his grandson Charles the Bald

Throwback to Constantine's rule and glory

Similarity to Marcus Aurelius statue

10 in. tall

Softer, rounded, less anatomical details, more lifelike from previous European art (flat Matthew)

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Animal Head, from the Oseberg burial ship. ca. 834

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Animal Head, from the Oseberg burial ship. ca. 834

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Early Medieval, Viking

Burial Ship

All wood, but survived because it was in ice (cold weather preserved)

Two women

Animal Head

Interlacing

Portable arts

Animal interlacing

Like other migrating European tribes

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Chi Ro Iota page, from the Book of Matthew, Book of Kells, ca. 800

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Chi Ro Iota page, from the Book of Matthew, Book of Kells, ca. 800

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Early Medieval, Hiberno-Saxon

Book of Matthew

More freeform, less symmetry, but carefully planned

Little details represent all the realms

Head, Angel man, moth, little snakes, otter with fish, cats with mice and wafer

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St. Matthew, from the Lindisfarne Gospels. Ca. 700

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St. Matthew, from the Lindisfarne Gospels. Ca. 700

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Early Medieval, Hiberno-Saxon

Different style from Book of Durrow

Roman influence

More stylized and flat, perspective kind of wonky

Simplification

Nimbus, Philosopher Pose

Monk made pilgrimage to Rome and brought back Roman manuscripts

Matthews symbol: always seen with a man with wings

Ezra Restoring the Bible

Philosopher pose, nimbus

Sense of space

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Cross page, from the Lindisfarne Gospels. ca. 700

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Cross page, from the Lindisfarne Gospels. ca. 700

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Early Medieval, Hiberno-Saxon

Illuminated manuscript: hand copied

Don't illustrate the story, there to help meditate

Miniaturist=artist

Attributed to one person: Bishop Eadfrith

Everything is very symmetrical, mirror images in pattern

Carpet page: no writing, only art on page

Animal interlace in design

Curvilinear shapes (movement, winding together)

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St. Matthew, from the Book of Durrow, ca. 680

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St. Matthew, from the Book of Durrow, ca. 680

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Early Medieval, Hiberno-Saxon

Hiberno-Saxon Art
(Mostly Ireland)

Receptive to Christian missionaries and became missionaries themselves

Desire to spread Christianity

Isolation

Scriptoria: Workshops for reproducing scriptures (handwritten and hand decorated)

Combined metal-work animal style of Anglo-Saxon art with Christian themes

St. Matthew, from the Book of Durrow

Front page of the book of Matthew (most often copied the gospels)

The body structure shows no Greek or Roman influence

Not naturalism, symmetry, carried over from metal-work art

Complexity in border, but not interested in naturalism

Incredibly complex patterns

Granulation style dots

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Purse cover, from the Sutton Hoo ship burial. First half of 7th century

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Purse cover, from the Sutton Hoo ship burial. First half of 7th century

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Early Medieval, Anglo Saxon

Cloisonne="Fenced in" (Bronze outlines with garnet and enamel)

Millefiori (1000 flowers)=Fused glass technique

Hero Pose

Intricate culture

Thought to be Viking, but coins showed it was much older

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Gold buckle, from the Sutton Hoo ship burial. First half of 7th century

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Gold buckle, from the Sutton Hoo ship burial. First half of 7th century

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Early Medieval, Anglo Saxon

Symmetry

Design: Interlace (Celts)

Little eyes and beaks (birds and snakes)

Small things that you can carry in travel

Granulation=tiny dots in surface

Anglo Saxon Art:
(Mostly in England)

Art that had no exposure to the Greek/Roman/Classical tradition

Sutton Hoo Ship Burial Site (Movie: The Dig)

Most mounds had been looted

The biggest one had:

Coins, weapons, helmets, jewelry, Remains of Purse with coins

Everything nonmetal and glass disintigrated

Evidence of refined artistic traditions

Imprints of a huge ship

Burial in ship

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Early Medieval Art

Anglo-Saxon: c. 600 A.D.

Hiberno-Saxon: c. 700 A.D.

Viking: c. 800 A.D.

Carolingian: c. 800 A.D.

Ottonian: c. 1000 A.D.

cloisonné

illuminated manuscript

initial page

carpet page

miniaturist

scriptoria

codex

the four evangelists

westwork

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"Equality of the arts"

Mihrab-a niche in the wall of a mosque or religious school (madrasa) that indicates the direction of Mecca (qibla), which Muslims face when praying

Qibla Wall-the wall in a mosque that faces Mecca

Kufic Script-a style of Arabic script that gained prominence early on as a preferred script for Quran transcription and architectural decoration, and it has since become a reference and an archetype for a number of other Arabic scripts

Minaret-tower for call to prayer

Horseshoe arches-also called the Moorish arch and the keyhole arch, is a type of arch in which the circular curve is continued below the horizontal line of its diameter, so that the opening at the bottom of the arch is narrower than the arch's full span.

Voussoirs- the stones that arent a keystone in an arch

Iwan-a vaulted space that opens on one side to a courtyard.

The Five Pillars of Islam

1. The Profession of Faith (The Shahada): “There is no God but God, and Muhammed is his prophet”

2. Daily Prayers (Salat): Five times a day, point towards Mecca

3. Alms-Giving (Zakat): Donate a portion of earnings (or good deeds for those unable to donate money) to the poor

4. Fasting during Ramadan (Saum): Ninth month of the Islamic calendar; from dawn to dusk (no eating or drinking during daylight)

5. Pilgrimage to Mecca (Hajj): At least once during one’s lifetime; visit the Kaaba (shrine said to be built by Abraham and his son Ishmael)

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Bichitr, Jahangir Preferring a Sufi Shaikh to Kings from the "St.   Petersburg Album," 1615-1618, opaque watercolor, gold and ink on paper

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Bichitr, Jahangir Preferring a Sufi Shaikh to Kings from the "St.   Petersburg Album," 1615-1618, opaque watercolor, gold and ink on paper

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Islamic
Page in a book

Watercolor

Designs from Persia

Influence from Western art (cupids, king james)

Handing a gift to Sufi Shaikh (accepting with shawl so he doesn’t touch him, poor not heavily adorned)

Hindu artist

Hourglass (show time)

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Islamic
Tomb

White marble (inlaid stones with color)

Paradise on Earth

Non functional/ decorative minarets

Symmetry and Complex designs

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Court of the Lions, Alhambra, Granada, Spain. Mid-14th century

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Court of the Lions, Alhambra, Granada, Spain. Mid-14th century

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Islamic

Muslims are being kicked out of Spain

Moorish influence from Morocco (delicate, light, airy, weightless)

Water is really important for cooling

Filled with fountains and streams

Four streams (symbolic of paradise)

Twelve lions

Themes of paradise/heaven

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Madrasa of Ulugh beg, Samarkand, Uzbekistan. ca. 1435

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Madrasa of Ulugh beg, Samarkand, Uzbekistan. ca. 1435

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Islamic

College, not a mosque

Lots of geometry and blue

Iwan=vaulted entrance

Observatory to study the stars

Courtyard/atrium

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Islamic
Combines many influences

Recycled roman columns

Horseshoe arch came from Visigoths in Spain

Stacking arches-new invention

Looks like it goes on and on forever (the timelessness of prayer)

Red and white voussoirs-Islamic invention

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Dome of the Rock, Jerusalem. ca. 690 and later

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Dome of the Rock, Jerusalem. ca. 690 and later

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Islamic

Shared in Jerusalem with Christians, Jews, and Muslims

Similarity to Byzantine art: Central plan, Ambulatory, Gold, Octagon, Tesserae

Similarity to Greek and Roman: Columns, Dome

In religious building you don't have images

Instead design and pattern

In design, you can read the whole Quran in calligraphy

Plants and vegetation (the creation)

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Islamic

Five pillars around arch

Covered with calligraphy, geometric design, plant motifs, mathematically designed

Decorative abstract writing (writing is art)

Kufic script

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Late Byzantine

Elongated Nose

Folds in draper but stylized

Face modeling but flat

Tiny Feet

Tempura on wood

Baby Jesus is miniature man- blessing gesture

Stylized and flatness

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Christ Pantocrator, Church of the Dormition, Daphni, Greece (9th century)

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Christ Pantocrator, Church of the Dormition, Daphni, Greece (9th century)

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Middle Byzantine

Huge, on top of dome looming down

Pantocrator=ruler and judge of the universe

Emphasis on justice side of Christ

Older bearded Christ, stern, vengeful, Christ you should fear

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Christ, Monastery of St. Catherine, Mount Sinai, Egypt. 6th century CE

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Christ, Monastery of St. Catherine, Mount Sinai, Egypt. 6th century CE

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Early Byzantine

Encaustic
Hand position: blessing gesture
Book=He is the word of God

Very unsymmetrical face
-Christ has two sides
-Justice and Mercy
-Two different hands
-His right is the mercy side

Icon=Image of sacred person

Iconoclastic controversy ca. 726-843

Iconoclasts=Image destroyers
Iconophiles=supporters of icons

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Hagia Sophia, Istanbul, Turkey. 532–37 CE  (inside, outside, plan)

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Hagia Sophia, Istanbul, Turkey. 532–37 CE  (inside, outside, plan)

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Early Byzantine

Towers added later when changed to Mosque
Huge, domed
Constantine church before burned down
Taller than the Pantheon (lost recipe for good Roman concrete)

Tralles and Isidorus (mathematicians, not architects)

Dome on pendentive (circle meets squares arches corners)

Basilica meets centrally planned

Bottom of the dome- windows (not supportive)
->effect of floating dome

Roman arches and columns

But new capitals for columns
- drillwork makes it look decorative not supportive

"suspended from heaven"

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Empress Theodora and Her Attendants, San Vitale, Ravenna, Italy.  ca. 547 CE

Holds offering of wine
Three wisemen on robes
Same size as Justinian

Theodora:
powerful, actress (scandalous marriage), Got women some rights (property, criminalized rape), made Justinian stay in Constantinople

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Emperor Justinian and His Attendants, San Vitale, Ravenna, Italy.  ca. 547 CE

Symbolic of Christ: nimbus, offering bread, all in purple, 12 attendants

Soldiers with shield with Chi Ro             Church people- Maximinous
State                                             &             Church -authority

No more contrapposto/ideal body/ground
-floating (heavenly)
-can't see body under robes
-not naturalism (gold sky)
-bodies stretched out

[Move away from earthly depictions]
Heaven and earth coming together

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Mosaic

Abraham and Isaac (whole story)
Hand of God stopping him

Typography
Parallels Between Abraham’s Sacrifice of Isaac and Heavenly Father’s  sacrifice of Christ
• Both births were announced many years before they were born
• Both births were miraculous
• Both were firstborn sons
• Both were willing sacrifices for both fathers and sons
• Both went to a place on a hill (in Jerusalem)
• Both had 3-day journeys
• Isaac carried the wood for the burnt offering on his back; Christ carried the cross • Isaac was to be sacrificed in place of a lamb; Jesus Christ was the Lamb of  God • The ram caught in the thicket by his horns prefigures Christ’s crown of thorns

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Mosaic

Christ sitting on the world
-nimbus with cross
-holding seven sealed scroll

Two angels
Saint Vitale-Christian martyr
Ecclesius-church leader, handing church to angel as offering