The Stavelot Triptych is stunning in its complexity and artistry. It was created by unknown artists, around mid-12th century, possibly for Abbot Wibald, in modern-day Mosan, Belgium. This artwork is currently on display in the Jerusalem exhibit at the MET. The Stavelot Triptych not only tells the story of the True Cross, but it shows the division of the Roman Empire, division of Christianity and the artistic differences between the East and the West. This formal analysis will express how the structure/shape, color, line, composition and techniques/ textures contribute to the meaning of the triptych. The structure is a combination of three triptychs in one, which are all enamel. There is the overall triptych, which is Mosan, and then there …show more content…
On the two outside wings, the six enamel medallions, read from bottom to top. They provide a link to the Byzantine triptychs. These medallions tell the story leading up to the drama of the miracle of the Cross and the conversion of Constantine, the Roman emperor, who was the first to recognize Christianity. The medallions on the left-wing show how Constantine converted to Christianity based on a dream in which an angel points to the cross and tells him he will be victorious over Maxentius, under that symbol. The middle medallion is him along with his soldiers defeating Maxentius in the battle at Milvian Bridge. After this he becomes the sole ruler of the western empire. The upper medallion is when Constantine is baptized near his death. In this medallion the artists use dark enamel lines to accentuate the anatomical parts of Constantine, for example his muscles. From as early as this piece, there are signs of the development of naturalism in Roman art. On the other hand, the medallions on the right tell the story of Saint Helena, Emperor Constantine’s mother, who was believed to have discovered the True Cross. In the lower medallion, Helena questions the Jews. In the middle she digs up the cross and in the top she brings it back to the imperial court. The middle reliquaries, which are static and iconic images, are much more symbolic, …show more content…
The triptychs are stylistically very different because they exhibit both Eastern and Western tendencies. The East is a more iconic style, while the West is a more narrative style. The artists probably used two different techniques to create more action filled scenes vs. more static scenes. The inner triptychs, which are eastern iconic images, were created using cloisonné. This is where the platforms are raised creating compartments that could be filled with precious materials such as stone or glass. It is more static because you have to work in the compartments to create the different forms of the composition. On the other hand, the medallions which are more action filled with drama, were created using champlevé. This is where the surface is gouged with a metal tool and the gouged areas are filled in so it gives more flexibility when building and filling vs. when carving and filling. It is noticeable from looking at the lines that the compartments are more structured. The gouged lines are kind of more flexible and malleable. If you’re trying to show a story of battle with people on horseback, you couldn’t do that with cloisonné, so the artists had to develop a different technique and they decided to apply the metal tool directly unto the
Another example of Christian iconography is The Transfiguration. It is located in the Church of Saint Catherine’s monaster...
The Edict of Milan was proclaimed by the Roman Emperor Constantine after he defeated the Emperor Maxentius at the Battle of the Milvian Bridge. After Constantine’s victory over Maxentius, the Roman senate celebrated by creating an arch at the base of the Palatine, known as the Arch of Constantine. It marvels with the old construction structures of free-standing columns, consisting of the carved reliefs of victories, trophies, and a triple gateway. The Arch of Constantine has circular reliefs representing the sun and moon on the east and west ends. On the keystones of the arches, there were carvings of the river and other gods. A very significant and astonishing aspect of this arch is the historical pattern, called the frieze, that was carved on the sides of the arch representing the ethic and style of architecture of that time period.
Deposition, by the artist Rogier van der Weyden, attempts to capture the essence of the grief experienced when Jesus’s died on the cross, and to invoke the emotion in the altarpiece’s viewer, thus drawing him/her into the biblical
Like the Lindisfarne Gospels, this representation of Saint Matthew takes a classical revival style appeared in the Carolingian world. Matthew’s attribute up in the upper-hand corner is a winged man. He looks energetic, very expressive and hunched over in contrast to more modeled images of even the same period and especially of late antique and classic painting. The painter uses a hard frenzied lines and bright colors to illustrate that he is writing frantically. His hair stands on end, his eyes are open wide and the folds of his drapery writhe and vibrate. The landscape behind him rears up alive and is very well conveyed. Cloths and hair of the figure is painted in detail. However, the monuments in the background are rather simplified comparing to other features in the painting. The painter even sets the page’s leaf border in motion. His face, hands, inkhorn, pen and book are focus of the composition. Artist struggles to raise the issues of perspective and tries to give us more three-dimensional view of Matthew. Painter does a terrific job in merging classical illusionism and the northern linear tradition. As the painter of the Lindisfarne Gospels Matthew transformed an important model into an original Hiberno-Saxon, so does the Ebbo Gospels artist transformed a classical prototype into a new Carolingian
“The Passions of Christ: A Journey Through Byzantine Art.” Kypros-Net: “The World of Cyprus”. 18 Oct. 2004 <http://kypros.org/Byzantine/>.
...ic meanings that still are puzzling art historians today. Some of the key symbols that Stokstad points out in the text is the dove, representing the Holy Spirit; the white lilies as a symbol of the Virgin Mary. She also points out, two rather unknown symbols to the sacrilegious, the date of the Annunciation in signs of the zodiac on the floor, as well as the lone stained glass window that is symbolizing God rising above the three windows that are placed in the background behind Mary. These three windows represent the Father, Son, and Holy Spirit.
As I walked into the first gallery, I saw a wood sculpture that stood in the center of the room. This carving depicted “the crucified Christ, flanked by the Virgin Mary and St. John the Evangelist with Angels holding instruments of the Passion”. It was painted oak and very appealing to the eye. It stood approximately 15 feet in the air. The origin of this sculpture is unknown, but it was found in a Belgium church. This kind of sculpture usually stood at the entrance or at the center of the alter in the church facing the congregation. This image of the suffering Christ relates to the Christian ideas of suffering and Christ’s salvation of all mankind.
These twin bronze pulpits, covered with reliefs showing the passion of Christ, are works of tremendous spiritual depth and complexity. Even though some parts were left unfinished, they had to be completed by lesser artists. Bibliography:.. 1. What is the difference between a. 1998 Microsoft Encarta. Copyright 1993-1997 Microsoft Corporation.
The Book of Kells is a beautifully illuminated Celtic Bible made in the ninth century (“The Old Library and the Book of Kells Exhibition”) that was shamefully omitted from the e-book edition of Art: A Brief History, 5th Edition (Stokstad and Cothren 232) The Chi Rho Page, or the cover page of the Book of Matthew, is arguably the most famous of all the pagess. It is so named because of the central figure of the page. The Chi Rho symbol, derived from the first two letters of “Christ” in the Greek alphabet, is the very symbol used by Constantine in the battle of Milvian Bridge (Stokstad and Cothren 154). The symbol means the same thing in the Book of Kells as it did to Constantine. By putting a Chi Rho symbol that takes up most of the page, the monks who drew this bring focus to Christ, which is appropriate for a Bible. The page is full of allegories, and in fact the entire page is an allegory for the first part of the book of Matthew. The intricacies of the page create a complex pattern that appears to make no sense. This in and of itself is an allegory. The book of Mathew is very hard to understand. However, each of the symbols make sense once studied. It is obvious that
Pieter, Bruegel. The Numbering at Bethlehem. Musee des Beaux Arts. Pieter Bruegel Oil Paintings. 12 Dec. 2005 .
First, the crosses are a representation of Man’s evil and God’s mercy. When guest arrive at my museum, there would be a “Wall of Thought.” On this wall are paintings with hidden crosses in them from different painters. Each painting would have a random person’s belief in what the interpretation of what the cross means to them.
... the way that the artwork is resembled in the religious background of the gospel but reconstructed in to a celebrating impression. Throughout the fresco painting it depicts the myth of the Christ’s three fold temptations relating back to the article that “distinction between fresco and panel painting is sharp, and that painters are seen as competitors amongst themselves discriminating also, between the difference in genuine attempts in being better then the other.” Baxandall, “Conditions of Trade,” 26. in relation, the painting concerns the painter’s conscious response to picture trade, and the non-isolation in pictorial interests.
The representation of divinity was clearly defined in Christ in Majesty with Symbols of the Four Evangelists through its subject matter, technique, and style. Christ acts as the focal point, but the artist also used different subjects from the Old and New Testament to decorate the apse. Unlike the mosaics in the apse of Byzantine churches, the artist employed the technique of classical fresco painting. The artist also applied decoration to the figures with the hierarchy of scale, and through the geometric style in the drapery instead of maintaining a sense of realism.
The woman in blue seems to be Mary, Jesus' mother. We can notice that in her fall, her body takes on the same shape as Jesus’. On the left and right sides, we can see some people crying and some others trying to console them. Also, there is a man on the ladder, right behind the cross. This artwork appears to express an emotion.
The artists of the Baroque had a remarkably different style than artists of the Renaissance due to their different approach to form, space, and composition. This extreme differentiation in style resulted in a very different treatment of narrative. Perhaps this drastic stylistic difference between the Renaissance and Baroque in their treatment of form, space, and composition and how these characteristics effect the narrative of a painting cannot be seen more than in comparing Perugino’s Christ Delivering the Keys of the Kingdom to St. Peter from the Early Renaissance to Caravaggio’s Conversion of St. Paul from the Baroque.Perugino was one of the greatest masters of the Early Renaissance whose style ischaracterized by the Renaissance ideals of purity, simplicity, and exceptional symmetry of composition. His approach to form in Christ Delivering the Keys of the Kingdom to St.Peter was very linear. He outlined all the figures with a black line giving them a sense of stability, permanence, and power in their environment, but restricting the figures’ sense of movement. In fact, the figures seem to not move at all, but rather are merely locked at a specific moment in time by their rigid outline. Perugino’s approach to the figures’themselves is extremely humanistic and classical. He shines light on the figures in a clear, even way, keeping with the rational and uncluttered meaning of the work. His figures are all locked in a contrapposto pose engaging in intellectual conversation with their neighbor, giving a strong sense of classical rationality. The figures are repeated over and over such as this to convey a rational response and to show the viewer clarity. Perugino’s approach to space was also very rational and simple. He organizes space along three simple planes: foreground, middle ground, and background. Christ and Saint Peter occupy the center foreground and solemn choruses of saints and citizens occupy the rest of the foreground. The middle distance is filled with miscellaneous figures, which complement the front group, emphasizing its density and order, by their scattered arrangement. Buildings from the Renaissance and triumphal arches from Roman antiquity occupy the background, reinforcing the overall classical message to the