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
PART 3HISTORY AND CONTEXT
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
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
PART 3HISTORY AND CONTEXT
Chapter 3.2 Art of the Middle Ages
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
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
PART 3HISTORY AND CONTEXT
Chapter 3.2 Art of the Middle Ages
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
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
PART 3HISTORY AND CONTEXT
Chapter 3.2 Art of 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
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
PART 3HISTORY AND CONTEXT
Chapter 3.2 Art of the Middle Ages
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
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
PART 3HISTORY AND CONTEXT
Chapter 3.2 Art of the Middle Ages
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
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
PART 3HISTORY AND CONTEXT
Chapter 3.2 Art of the Middle Ages
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
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
PART 3HISTORY AND CONTEXT
Chapter 3.2 Art of the Middle Ages
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
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
PART 3HISTORY AND CONTEXT
Chapter 3.2 Art of the Middle Ages
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
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
PART 3HISTORY AND CONTEXT
Chapter 3.2 Art of the Middle Ages
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
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
PART 3HISTORY AND CONTEXT
Chapter 3.2 Art of the Middle Ages
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
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
PART 3HISTORY AND CONTEXT
Chapter 3.2 Art of the Middle Ages
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
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
PART 3HISTORY AND CONTEXT
Chapter 3.2 Art of the Middle Ages
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
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
Chapter 3.2 Art of the Middle Ages
PART 3HISTORY AND CONTEXT
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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
PART 3HISTORY AND CONTEXT
Chapter 3.2 Art of the Middle Ages
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.
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields Copyright © 2011 Thames & Hudson
PART 3HISTORY AND CONTEXT
Chapter 3.2 Art of the Middle Ages
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?
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields Copyright © 2011 Thames & Hudson
PART 3HISTORY AND CONTEXT
Chapter 3.2 Art of the Middle Ages
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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Chapter 3.2 Art of the Middle Ages
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Gateways to Art: Understanding the Visual Arts By Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
Copyright © 2011 Thames & Hudson
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PART 3HISTORY AND CONTEXT
Chapter 3.2 Art of the Middle Ages
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