Art Of The Middle Ages Cultural Leadership moved from Mediterranean to France, Germany, and Britain Christianity and the Church dominated Emphasis in art.

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Presentation transcript:

Art Of The Middle Ages Cultural Leadership moved from Mediterranean to France, Germany, and Britain Christianity and the Church dominated Emphasis in art shifted from this world to the afterlife (fear of Hell) The body was not beautiful but corrupt Reliquary Shrine, second quarter of the 14th century Attributed to Jean de Touyl (French, died 1349)

Art Was The Servant Of The Church Nudes Forbidden Even clothed bodies ignored anatomy Lost Greek value of balance between body and mind Only interested in soul Wanted to attract and inspire new believers Tomb Effigy of Jean d'Alluye, mid-13th century French; Carved in Touraine, Loire Valley The Annunciation, ca. 1290–1300 German; Made in Altenberg-an-der-Lahn, Hesse Crucifix, ca. 1150–1200 Spanish; Made in Palencia, Castile-León

Illuminated Manuscripts eaf from a Beatus Manuscript: Christ in Majesty with Angels and the Angel of God Directs Saint John to Write the Book of Revelation, ca. 1180; Romanesque Spanish; Made in Burgos, Castile- León

Tapestry The Unicorn in Captivity, 1495–1505 South Netherlandish

Byzantine Art 330 AD AD Centered in Constantinople Combined Greek Oriental taste for rich decoration and color with Christian themes

Icons Small wood-panel paintings Rigid frontal poses Halos, staring wide eyes Believed to possess supernatural powers –Carried into battle –Kissed so often the paint is worn away –Idolatry? Banned Icon with the Nativity. Byzantine, first quarter of the 15th century. Tempera and gold on wood, priming on textile Triptych with Virgin and Child and Saints. Nikolaos Tzafouris (act. 1489–93) or Andreas Ritzos (1422–1492). Crete (Candia?), late 15th century.

Mosaics Intended to publicize the new religion Often depicted Christ as teacher Human figures are flat, stiff, symmetrically placed. Almond-shaped faces, solemn expressions, no movement

Cathedrals Seat of the Bishop and Diocese Shaped like a Cross Chavet- Pillow Draw of Pilgrims Housed Relics and Tombs

Hagia Sophia “Holy Wisdom”  Mystical atmosphere Nearly 3 football fields long Pendentives- four arches formed a square Forty arched windows encircle the base of the dome to give illusion of halo

Romanesque Cathedral Horizontal Emphasis Stone roof with rounded arches Thick piers and walls support roof Smaller windows- dark and solemn

Romanesque Cathedral

Gothic Cathedral Vertical Emphasis- reaches to heaven Stone roof with pointed arches and ribbed vault Thin walls and piers supported by Flying Buttresses Large stain glass windows- airy and “Holy Light”

Flying Buttresses

Stain Glass Windows Told religious stories Symbolism Honored craftsmen and benefactors Martyrdom of Saint Lawrence, ca. 1175–1180; Romanesque

Rose Window

Sculpture Early Gothic- “Long and Lean” –Body was despised Late Gothic- more rounded and realistic –Aristotle taught that the body was “An envelope for the Soul”

Giotto: Death of Christ, Fresco c. 1306

Giotto. Meeting at the Golden Gate Fresco. Capella degli Scrovegni, Padua, Italy.

Late Middle Ages The Annunciation Triptych, Altarpiece, ca Robert Campin and Assistant (South Netherlandish [Tournai], active by 1406, died 1444) South Netherlandish; Made in Tournai