artid121 - romanesque art
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The Age of Pilgrimages:Romanesque ArtART ID 121 | Study of Western ArtsSlide concept by William V. Ganis, PhD NYIT Center for Teaching and Learning with TechnologyWith modifications by Arch. Edeliza V. Macalandag, UAPRomanesque Art- The term Romanesque (meaning "Romanlike") is used to designate a period lasting approximately 150 years, from 1050 to 1200, when buildings incorporated certain architectural elements that resemble ancient Roman architecture. - While mural painting and manuscTRANSCRIPT
ART ID 121 | Study of Western 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 Age of Pilgrimages: Romanesque Art
- The term Romanesque (meaning "Romanlike") is used to designate a period lasting approximately 150 years, from 1050 to 1200, when buildings incorporated certain architectural elements that resemble ancient Roman architecture.
- While mural painting and manuscript illumination continued much as before, there is a resurgence of monumental stone sculpture.
- Romanesque art was also greatly influenced by Byzantine art, especially in painting, and by the anti-classical energy of the decoration of the Insular art of the British Isles, and from these elements forged a highly innovative and coherent style.
Romanesque Art
- Romanesque architecture is noteworthy principally for:
- round arch
- stone barrel
- groin vaults
- thick and solid walls
- Most of the new buildings were cathedrals, churches, and monasteries that varied in style from one region to another.
- A number of churches were designed to accommodate visiting pilgrims.
Romanesque Architecture The term was invented by 19th century art historians, especially for Romanesque architecture, which retained many basic features of Roman architectural style - most notably round-headed arches, but also barrel vaults, apses, and acanthus-leaf decoration - but had also developed many very different characteristics.
The rise of towns:
-The increase in trade and the growth of towns and cities in the Romanesque period began to replace feudalism.
Monasteries and churches:
-Separated by design form the busy secular life of Romanesque towns were the monasteries and their churches.
Pilgrimages:
-The enormous investment in ecclesiastical buildings and furnishings also reflected a significant increase in pilgrimage traffic in Romanesque Europe.
Romanesque Art
plan & interior of Saint Etienne
Vignory, France
ca. 1050-1057
Regional diversity is evident in
Romanesque buildings. Specific
to northern style of French
Romanesque architecture is the use of large sawn blocks of stone to
construct the walls of the
buildings, but roofed with
timber.
Saint Philbertnave vaults
Tournus, France
ca. 1060
Further south, in southern France,
Spain, and Lombardy, early
Romanesque builders generally
preferred to construct their
edifices with brick or small bricklike blocks of stone and to cover
the nave and aisles with vaults.
Saint-Sernin
Toulouse, France
ca. 1070-1120
Saint-Sernin is an example of the new church of the "pilgrimage type".
Saint-Sernin
Toulouse, France
ca. 1070-1120
Saint-Sernin is located on the site of a previous basilica of the 4th century which contained the body
of Saint Saturnin or Sernin, the first bishop of Toulouse in c. 250
Saint-Sernin
Toulouse, France
ca. 1070-1120
The Saint-Sernin plan is extremely regular and geometrically precise. The crossing square, flanked by massive piers and marked off by heavy arches, served as the module for the entire church.
Interior of Saint-SerninToulouse, Franceca. 1070-1120
Nave of Saint-SerninToulouse, Franceca. 1070-1120
Nave of Saint-SerninToulouse, Franceca. 1070-1120
The central nave is barrel vaulted; the four aisles have rib vaults and are supported by buttresses.
Aerial view of Sant’ Ambrogio
Milan, Italy
late eleventh to early twelfth century
One of the most ancient churches in
Milan, it was built by St. Ambrose in 379-
386, in an area where numerous martyrs of
the Roman persecutions had been buried. The first name
of the church was in fact Basilica Martyrum.
Plan of Sant’ Ambrogio
Milan, Italylate eleventh to early twelfth century
One of the most ancient churches in Milan, it was built by St. Ambrose in 379-386, in an area where numerous martyrs of the Roman persecutions had been buried. The first name of the church was in fact Basilica Martyrum.
Interior of Sant’ Ambrogio
Milan, Italy
late eleventh to early twelfth century
The modular scheme and alternate-support system employed at Sant'Ambrogio in Milan created a series of domical ribbed groin vaults.
West façade of Saint-Etienne
Caen, France
begun 1067, ca. 1115-1120
Dedicated to Saint Stephen ("Saint Étienne"), Saint Etienne (Saint Stephen) is one of the most
notable Romanesque buildings in Normandy.The twin-towered façade of the church of Saint-
Étienne at Caen is divided into three bays.
Interior of Saint-Etienne (nave)
Caen, France
ca. 1115-1120
The nave employs an alternating system of compound piers with
engaged half-columns and piers with half-
columns attached to pilasters that rise
through three stories to support rib vaults.
Durham Cathedral
Durham, England
begun ca. 1093
Interior of Durham Cathedral
Durham, England
begun ca. 1093
Durham Cathedral alternates large
ornamented pillars with compound piers that
support a series of seven-part groin vaults
each covering two bays. It is the earliest example
of ribbed groin vaults placed over a three-story
nave.
Nave of Durham Cathedral
Durham, England
begun ca. 1093
In architecture, it signaled the importation of French
Romanesque building and design methods.
It was begun around 1093, in the generation following the Norman conquest, and is the centerpiece of a monastery,
cathedral, and fortified-castle complex on the Scottish
frontier.The church’s vaulted interior
which predates that of the remodeled Saint-Etienne at
Caen, retains its original severe Romanesque
appearance.
Plan & transverse section of Durham Cathedral
Durham, England
begun ca. 1093
Exterior of Durham Cathedral
Durham, England
begun ca. 1093
Pisa Cathedral complex in Pisa, Italycathedral begun 1063; baptistery begun 1153; campanile begun 1174Tuscan Romanesque architecture adheres closely to the traditions of the Early Christian basilica.
The cathedral complex at Pisa comprises a cathedral, a free-standing bell tower, and a baptistery. The cathedral has a timber ceiling and a nave arcade of reused classical columns. Arcaded galleries decorate the exterior of the leaning bell tower.
Pisa Cathedral complex in Pisa,
Italycathedral begun 1063
baptistery begun 1153 campanile begun 1174Partly paved and partly grassed, it is dominated by
four great religious edifices: the Duomo (cathedral), the Campanile (the cathedral's
free standing bell tower), the Baptistry and the
Camposanto.
Baptistery
Pisa Cathedral complex in Pisa, Italycathedral begun 1063 baptistery begun 1153 campanile begun 1174
The exterior of the octagonal Baptistery in Florence is decorated with polychrome marble incrustation.
Pisa Cathedral campanile
Pisa, Italy
begun 1174
Pisa Cathedral complex in Pisa,
Italycathedral begun 1063
baptistery begun 1153 campanile begun 1174
Interior of Pisa Cathedral
Pisa, Italy
cathedral begun 1063
The interior also at first suggests the basilica, with
its timber rather than vaulted ceiling and nave arcade of reused Roman
columns in unbroken procession.
Above the colonnade is a continuous horizontal
molding, on which the gallery arcades rest.The striped walls of
alternating dark green and cream-colored marble
provide a luxurious polychromy that became a
hallmark of Tuscan Romanesque and Gothic
buildings.
West façadeSan Miniato al
Monte
Florence, Italy
1062 and twelfth century
It sits, as its name implies, on a hillside overlooking the Arno River and the heart of
the Florence.The body of the church was
completed by 1090, the gable-crowned façade
during the twelfth and early thirteenth centuries.Even more than Pisa
Cathedral, the structure recalls the Early Christian
basilica in plan and elevation, although its
elaborate geometric incrustation makes for a rich ornamental effects
foreign to the earlier buildings.
West façadeSan Miniato al Monte
Florence, Italy | 1062 and twelfth century
Interior of San Miniato al Monte
Florence, Italy
1062 and twelfth century
Though at first glance, the lowest level much resembles the patterning of
Florence’s baptistery, the arcades and panels do not reflect the buildings
structure.The façade’s upper levels, of much later date than the lowest level are filled capriciously with geometrical
shapes that have a purely, ornamental function.
The nave is divided into three equal compartments by diaphragm arches.The arches rise from compound piers and brace the rather high, thin walls.They also provide firebreaks beneath
the wooden roof and compartmentalize the basilican interior in the manner so
popular with most Romansque builders.
Bernardus Gelduinus
Christ in Majestyrelief in the ambulatory of Saint-Sernin
Toulouse, France | ca. 1096 | marble | 4 ft. 2 in. high
The sharply incised lines and
ornamentation of the marble
relief of Christ in Majesty is
characteristic of pre-Romanesque
metalwork.
WiligelmoCreation of Adam and Eve, frieze on the west façade, Modena CathedralModena, Italy | ca. 1110 | marble | approximately 3 ft. high
The high relief carving of the figures in the frieze at Modena breaks
through the arcaded frame format to produce a more continuous narrative.
Tympanum of the south portal of Saint-Pierre
Moissac, France | Marble | ca. 1115-1135
The tympanum at Moissac exhibits a distinctive style of Romanesque sculpture
characterized by figures with elongated bodies and draperies decorated with zigzag
and dovetail lines.
Christ in Majesty with angels and the Twenty-Four EldersTympanum of the south portal of Saint-Pierre
Moissac, France | Marble | ca. 1115-1135 | approximately 16 ft. 6 in. wide at base
Christ in Majesty with angels and the Twenty-Four
EldersTympanum of the s. portal of Saint-
Pierre
Moissac, France
marbleca. 1115-1135
approximately 16 ft. 6 in. wide at base
Lions and Old Testament prophet (Jeremiah or Isaiah?)
From the trumeau of the south portal of Saint-Pierre
Moissac, France
ca. 1115-1130marble
approximately life-size
The scalloped trumeau at Moissac shows an elongated, cross-legged
figure accompanied by roaring lions.
Cloister of Saint-Pierre
Moissac, France
ca. 1100-1115marble
piers approximately 6 ft. high
Cloister of Saint-Pierre
Moissac, France
ca. 1100-1115 | marble | piers approximately 6 ft. high
Abbey of Notre-Dame
Fontenay, Burgundy, France
1139-47
Abbey of Notre-Dame
Fontenay, Burgundy, France
1139-47
Gislebertus
Last Judgment (plaster cast)West tympanum of Saint-Lazare
Autun, France | ca. 1120-1135 | marble | approximately 21’ wide at base
Ascension of Christ and Mission of the ApostlesTympanum of the center portal of the narthex of La Madeleine
Vézelay, France
1120-1132
Ascension of Christ and Mission of the ApostlesTympanum of the center portal of the narthex of La Madeleine
Vézelay, France
1120-1132
Portal on the west façade of Saint-Trophime
Arles, France
second third of the twelfth century
For the church’s western entrance, a projecting portal resembling a
Roman arch was “attached” to the building’s otherwise simple façade.
Strictly Christian and thematically related to other Romanesque portals
already examined here.The tympanum shows Christ
surrounded by the signs of the Four Evangelists.
Portal on the west façade of Saint-Trophime
Arles, France
second third of the twelfth century
Benedetto Antelami
King Davidon the west façade of Fidenza
Cathedral
Fidenza, Italy
ca. 1180-1190marble
approximately life-size
The sculptor BENEDETTO ANTELAMI was active in the last quarter of the twelfth
century. Several relief's by his hand exist, including Parma Cathedral’s pulpit and the portals of
that city’s baptistery.His elbows are kept close to his body, and
his stance is stiff, lacking any hint of the contrapposto that is classical statuary’s
hallmark.Yet the sculptors conception of this prophet
is undeniably rooted in Greco-Roman art.
Virgin and Child ( Morgan Madonna)
from Auvergne, France
second half of twelfth century
painted wood2 ft. 7 in. high
A wooden statuette depicting the Virgin Mary with Christ
Child in her lap.The Morgan Madonna so named because it once
belonged to the financer and prolific collector J.Pierpont
Morgan.The type-known as the Throne of Wisdom, seldes sapientiae-
is a western European freestanding version of the
Byzantine Theotokos theme popular in icons and mosaics.
Head Reliquary of Saint Alexander
from Stavelot Abbey, Belgium
1145silver repoussé, gilt bronze, gems, enamel
17 1/2 in. high
Christ in Majestyapse fresco from Santa María de
Muir
near Lérida, Spain
mid-twelfth centuryfresco
22 x 24 ft.
The Vision of Hildegard of Bingen
Detail of facsimile of a lost folio
in the Scivias by Hildegard of Bingen
from Trier or Bingen, Germany
ca. 1050-1079
Initial R with knight fighting dragon
from the Moralia in Job
from Cîteaux, France
ca. 1115-1125ink and tempera on vellum
13 3/4 x 9 1/4 in.
Master Hugo
Moses Expounding the Lawfolio 94 recto of the Bury Bible
from Bury Saint Edmunds, England
ca. 1135ink and tempera on vellum
20 x 14 in.
12 Scenes from the Christmas StoryMS 37472 folio 1 recto
from Canterbury, England
ca. 1140ink and tempera on vellum
40.5 x 30 cm
Cat, Mouse and WeaselBestiary, MS 11283, folio 15,
(detail)
from England
ca. 1170ink and tempera on vellum
30 x 180 cm
Mouth of HellWinchester Psalter
from Winchester, England
ca. 1150ink and tempera on vellum
12 3/4 x 9 1/8 in.
Eadwine the Scribe(?)
Eadwine the Scribe at workfolio 283 verso of the Eadwine
Psalter
ca. 1160-1170ink and tempera on vellum
Funeral of Edward the Confessorprocession to Westminster Abbeydetail of the Bayeux Tapestry
From Bayeux Cathedral, Bayeux, France
ca. 1070-1080 | embroidered wool on linen | 229 ft. 8 in. overall
Battle of Hastingsdetail of the Bayeux Tapestry
From Bayeux Cathedral, Bayeux, France
ca. 1070-1080 | embroidered wool on linen | 229 ft. 8 in. overall
Christ in Majesty (Maiestas Domini) with apostles
Saint-Genis-des-Fontaines, France
1019-1020
Dated 1019-1020 by inscription, the lintel depicts Christ enthroned in a lobed mandorla supported by angels and flanked by apostles.To the left and right of Christ are inscribed the first and last letters of the Greek alphabet, a reference to his role as Last Judge: “I am the Alpha and the Omega, the first and the Last, the Beginning and the End”.The Saint-Genis lintel is the earliest of many relief's on Romanesque church facades depicting or alluding to Judgment Day and the separation of those who will be saved from those who will be damned.
Rainer of Huy
Baptism of Christ
Baptismal font
from Notre-Dame-des-
Fonts
Liege, Belgium
1107-1118bronze
2 ft. 1 in. high
RAINER OF HUY, a bronze worker from
the Meuse River valley in Belgium, an area renowned for its
metalwork.In 1118 her
masterfully cast in a single piece the
baptismal font for Norte-Dame-des-
Fonts in Liege.The bronze basin
rests on the foreparts of twelve oxen, a reference to King
Solomon’s temple.The Old Testament
story was thought to prefigure Christ’s
baptism which is the central scene on
Rainer’s font.
Entombment of Christfresco above the nave arcade, Sant’Angelo in Formis
Near Capua, Italy | ca. 1085 | fresco
The Tree of JesseExplanatio in Isaiam
from Cîteaux, Franceca. 1125 | ink and tempera on vellum
15 x 9 in.
Sources
• http://www.wadsworth.com/art_d/templates/student_resources/0155050907_kleiner/studyguide/ch17/ch17_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/Romanesque_art • Art Through the Ages, 12th/11th ed., Gardner