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