Medieval Art: Several different art styles that had a major focus on Christian Religion and structural advancments.

By PenaGabe
  • Period: 330 to 1453

    Byzantine Art

    This period is defined with its unique use of gold within their paintings an manuscripts to represent divinity often called "Holy Icons". Many of the paintings were combinations of classical style and hieratic. During this period lots of architectural advancements were made primarily towards the construction of domes with new techniques.
  • San Vitale, Apse Consecrated 547 Ravenna, Italy (Byzantine)
    549

    San Vitale, Apse Consecrated 547 Ravenna, Italy (Byzantine)

    Many Icon paintings were displayed on dome as if looking down from heaven heavily emphasizing their divinity. Their structure was commonly held with Pendentives and Drums that became a signature style within churches.
  • Tower and scriptorium of the San Salvado Monastery of Tábara de León, from Beatus's Commentary on the Apocalypse, c. 970 Colophon Page (gives info on production) Mozarabic (Romanesque)
    971

    Tower and scriptorium of the San Salvado Monastery of Tábara de León, from Beatus's Commentary on the Apocalypse, c. 970 Colophon Page (gives info on production) Mozarabic (Romanesque)

    This manuscript gave a glimpse into the life of transcribers with their artistic practice. It depicts the tower having multiple levels with several people working within as this process not done alone.
  • Period: 1000 to 1200

    Romanesque Art

    Much of this period is defined by the increase of Scriptorium which were monasteries dedicated to copying and illuminating manuscripts for religious purposes and helped display wealth and prestige.
  • Period: 1100 to 1400

    Northern Gothic

    This period was filled with art that leaned further into emotion from the viewer with artwork that was much more naturalistic compared to the Byzantine period.
  • Period: 1100 to 1400

    Italian Gothic (Italo-Byzantine)

    Much of the religious artwork during this period shared heavy relations and inspirations with the Byzantine period. Some changes included a shift from full gold Icon paintings to murals with divinity simplified around the heads of those who were divine.
  • Winchester Psalter Psalter of Henry of Blois c. 1129-1171 Miniature Painting Vellum 12.6” x 8.75” British Library The Annunciation to the Shepherds (top) The Magi before Herod (bottom)(Romanesque)
    1129

    Winchester Psalter Psalter of Henry of Blois c. 1129-1171 Miniature Painting Vellum 12.6” x 8.75” British Library The Annunciation to the Shepherds (top) The Magi before Herod (bottom)(Romanesque)

    Many of these manuscripts were commissioned to wealthy people which displayed their status. It was also used for personal study and displayed within booklets and contained several artworks of a the same style with elongated faces and simply backgrounds.
  • Bonaventura BerlinghierI Madonna and Child c. 1230 Tempera on wood Metropolitan MoA (Italian Gothic)
    1230

    Bonaventura BerlinghierI Madonna and Child c. 1230 Tempera on wood Metropolitan MoA (Italian Gothic)

    Similar to the Byzantine period gold covered these painting with a heavy emphasis on divinity. Many painting also shared this common pose of the Madonna carrying Christ which is termed maesta.
  • German Gothic Röttgen Pietà c. 1300–1325 Painted wood 34 1/2′′ high LVR-Landes Museum, Bonn ( Northern Gothic)
    1300

    German Gothic Röttgen Pietà c. 1300–1325 Painted wood 34 1/2′′ high LVR-Landes Museum, Bonn ( Northern Gothic)

    Simply looking at this piece of artwork evokes a reaction from the viewer. Much art from this period attempts to fill their art with emotion. Despite not being portrayed as highly realistic the statue emphasizes the faces with large heads for the viewers to lean in on the focus of emotion when observing.
  • Giotto, The Lamentation, fresco, 1305-1306 6 ½’ x 6’ Scrovengi Chapel, Padua, Italy (Italian Gothic)
    1305

    Giotto, The Lamentation, fresco, 1305-1306 6 ½’ x 6’ Scrovengi Chapel, Padua, Italy (Italian Gothic)

    Rather than the normal Icon painting this artwork displays the mourning of Christ. Aspects of the the icon artworks are still present with its gold influence. Behind the heads of those who are divine a golden halo is formed. While less emphasis is put onto the divinity itself the artwork aims to display a story rather than to display an icon.
  • German Gothic Gerhard Lutz, Crucified Christ 1350 – 1450 Walnut wood, originally polychromed 16 3/8” x 14 1/2:“ Cleveland Museum of Art ( Northern Gothic)
    1350

    German Gothic Gerhard Lutz, Crucified Christ 1350 – 1450 Walnut wood, originally polychromed 16 3/8” x 14 1/2:“ Cleveland Museum of Art ( Northern Gothic)

    Like the previous artwork of the virgin holding Christ this artwork depicts Christ extremely skinny to depict what he endured during his crucifixion. It also puts heavy emphasis onto the emotion striking the viewers with such a heavy event.
  • Icon of Christ, late 14th century, Thessaloniki, egg tempera on wood, 157 x 105 x 5 cm (Museum of Byzantine Culture, Thessaloniki) (Byzantine)
    1400

    Icon of Christ, late 14th century, Thessaloniki, egg tempera on wood, 157 x 105 x 5 cm (Museum of Byzantine Culture, Thessaloniki) (Byzantine)

    Many important paintings made during this period were named "Holy Icons". Their signature features were having holy figures such as Christ with a golden background to symbolize divinity. They did not have a focus on realism but rather a focus on iconic features of the person that would make them easily recognizable to viewers such as Jesus Christ with his conventional long hair and beard. Many icon paintings similar to these would be displayed on domes within churches.