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 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 Merode Altarpiece is a triptych painting that represents the Annunciation of the Virgin Mary. This work displays the main characteristics of the Northern Late Gothic period. There is so much detail in this work of art. Campin utilizes many symbols in this altarpiec. The setting of the painting is in a Flemish middle class house. The Annunciation theme is being depicted in the central panel. A scene of Saint Joseph at work as a carpenter occupies the right-hand panel. The portraits of the donors are depicted in the left hand panel. Campin failed to understand the scientific perspective. To illustrate, there is no focal point in the painting and the table looks tilted. Campin used no aerial perspective. To illustrate, the background is still very crisp when seen from a distance. The most important aspect of the painting is the symbolism. For example, the lilies represent Mary's purity, the candle represents the Holy Spirit, even the mouse traps represent trapping evil. Campin also made use of bright, rich colors. In the central panel, the drapery of the figures are filled with colors of red and white. Campin has also made a good use of illusion of the space by making the town seem to be far away by distance by making them appear blurry. Furthermore, Campin has created figures that are not in proper proportion. To illustrate, the figure’s head is small and the bodies are big and it seems that if they get will hit their head if they get up. They look very unrealistic. Although they are not in proportion, the figures seem to have very sharp edges. The figures also look very stiff and rigid. In Merode Altarpiece, the light is arbitrary and the figures do not cast any...
Wright, H. David. The Vatican Vergil: a Masterpiece of Late Antique Art. Berkeley: University of California Press, 1993. Print.
I found The Raising of Lazarus and Annunciation to be interesting pieces on their own as well as to be compared. At face value, these paintings do not appear to contain many contrasting features. However, by examining these paintings closely, one can conclude that paintings with similar themes, mediums, and time periods can still differ in countless ways. Light, medium, subject, color, space, and viewpoint are just a few of the characteristics that can be considered when analyzing Wtewael and Caliari’s works. It is imperative that observers of art take a deeper look into the different features of artwork in attempt to uncover the intentions of the artist.
As our text states, “the converging lines of the pavement connect the action in the foreground with the background” (Kleiner F.S. p. 477). Indeed, the Papacies authority is clearly on display here as Perguino places these iconic figures of Biblical dogma in the center of the piece while the background features a “central-plan temple” and two arches on the far left and right (which represent the Arch of Constantine). The inclusion of the a...
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
The Middle Ages, contrary to its name, was a dynamic period of innovations. Throughout this period, visual arts were employed to communicate important messages to the public as well as private wealthy patrons. A variety of mediums were used to disseminate ideas. Though, the sense of decorum shifted, the purpose of these moralizing images of religious figures remained the same. Art was, as it still is an extremely useful and powerful tool for both religious and political advancements. The two pieces to be considered in this paper were created using scenes from the life of Christ. Themes from the old and new testaments were frequently used in art of the Middle Ages to convey important messages to a largely illiterate populous, display the wealth of few individuals, and create feelings of patriotism and support for the Monarch by relating them to divinity. Both pieces are from different mediums and likely different forms of patronage. To be analyzed in this paper is an illuminated manuscript page (fig 1) and an ivory diptych (fig 2). There are several similarities, as well as differences throughout the works. I will describe each piece then continue to compare and contrast them, this will work to facilitate a greater understanding of the Middle Ages through works of art.
In his Crucifixion, with the Virgin and Saint John the Evangelist Mourning (c.1460), a piece within the Northern Renaissance collection of the Philadelphia Museum of Art, Rogier van der Weyden portrays a stark image of the crucifixion of Jesus Christ. The right panel of the diptych depicts the gruesome image of a crucified Christ. Weight pulls the emaciated body down into a Y-shape, contrasting the T-shape of the cross it is mounted on. The only movement comes from the loincloth wrapped around Christ’s waist that dances in the wind. Blood visibly trickles from the corpse’s wounds. Behind the body, a red cloth is draped down the grey wall. At the base of the cross sits a skull and bone. The left panel portrays the Virgin Mary swooning in despair as Saint John attempts to support her weight. Her hands are clasped in prayer as she gazes up at her lifeless son. Both figures are clothed in pale draping robes. The vibrant red of the cloth that hangs from the grey wall in the background contrasts the subdued colors of the
Pieter, Bruegel. The Numbering at Bethlehem. Musee des Beaux Arts. Pieter Bruegel Oil Paintings. 12 Dec. 2005 .
... 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.
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.
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.
Larmann, R., & Shields, M. (2011). Art of Renaissance and Baroque Europe (1400–1750). Gateways to Art (pp. 376-97). New York: W.W. Norton.
Art through the ages has been a powerful voice for both secular and religious ideas, and the treasury of Christian art should not be relegated to museum viewing. The art should be displayed in the church were it is meant to be. Its richness can be brought to people in schools and adult study groups. This, in turn, can help to bring art up to the level, that the faith deserves. Churches should fill the walls with art to show what happened throughout the bible. Art creates connections and associations between what we see and what we sense happened. Both ritual and art challenge us to take us beyond the immediate, if they are to bring about true insight and transformation in our lives.