-
Byzantine art is a diverse period stretching a long span and vast geographical regions. Moving the Roman capital to Constantinople enacted artistic transitions breaking from the Greco-Roman style. Predominately flat, to avoid iconoclasm, with a religious focus that promotes spirituality over realism. Art produced a language to combat illiteracy and was a doorway to the spiritual realm unburdened by earthly elements. However, political affirmations remain that continue Roman Traditions.
-
Following riots that destroyed 2 prior churches at the site, Justinian enacted a building campaign to put people to work and curb unrest. At the center of this campaign was the Hagia Sophia. A mystifying work of architecture employing feats of engineering, the structure appears to stand strong by works of divine intervention. "The important point is that the decoration suggests that something other than sound building technique must be at work in holding up the building." (Allen, 2015) -
The Dome of the Hagia Sophia is the perfect expression of physical into spiritual, a concept intrinsic to the Byzantium style. Appearing to be suspended from the heavens, perhaps by a chain, the dome brings the spiritual realm to the earthly physical realm. This effect is achieved through both engineering and visual techniques. Hidden supports and pendentives create the necessary stability, while windows punched through the base and gold application create the illusion of a floating dome. -
This piece is representational of many characteristics familiar to Byzantine art. The idealized representational forms, almond eyes, and gold background indicative of the divine realm. Most fascinating to me is the political and religious assertions made. Justinian is pictured with military, clergy and religious men, portraying connection to all 3. Zooming out we see Christ granting him the crown and his halo presents his divine right. A key cross between political and religious leadership. -
Influenced by millennial panic, pilgrimage and the crusades, the Romanesque period developed out of movement of people and a shift back to classical Roman style. It can be described as an experimental period, particularly in architecture as they build to accommodate the pilgrimage and re-adopt Roman Technique. 3-D sculpture reemerges along with the first depictions of the Last Judgement. This shift is a response to the unrest of the dark ages and living devout in the face of the second coming.
-
Located at the entrance of the church this tympanum relief served as a reminder to not only traveling pilgrims but clergy alike of the fate that awaited for both lives of devotion and sin. Christ sits as the judge granting access to heaven and damning to hell. Christ sits in a mandorla, a fixture of romanesque religious art. This piece represents the thematic changes in religious works from Byzantium and into Romanesque, depicting scenes graphic in nature and serving as a warning. -
Northern Gothic focused on naturalistic and less idealized works, thematic shifts to evoke emotion in the viewer (presenting pain and suffering), and humanizing features of Christ and Mary. Italian Gothic while still holding a degree of influence from Northern Gothic has noticeable ties to Byzantium styles evident in the bridge between spiritual icon tradition and new interest in naturalism and human emotion. In architecture, romanesque techniques are refined and perfected.
-
Illuminated manuscripts were Christian texts and a fixture of the Romanesque period. They served as religious services and clerical instruction,
personal study and expression of prestige among wealthy leaders of church and state. This manuscript in particular portrays a depiction of hell with an angel holding the key. This was very early concept of hell, but one that portrayed some inside with crowns, serving as a warning to those in power that Hell did not serve a divine right. -
Depiction of Christ and Mary has changed through history. Romanesque art takes a specific approach that is slightly more realistic than depictions of Byzantium, but still idealized to convey a certain message. Mary's hands are enlarged to draw focus like arrows to Christ who is seated atop her throne like posture. Christ is a middle age man, the size of a child, characteristic of Romanesque depictions. They are both serene as emotion was saved for depictions of the devil. (The Met, 2016) -
If Romanesque architecture is the caterpillar, Gothic architecture is the butterfly and Notre Dame de Paris is a magnificent example. Many of the building techniques experimented in Romanesque become perfected in Gothic. Pointed arches, rib vaults, flying buttresses and thinner masonry allow for building bigger and brighter. Ornamentation flourishes creating grand spaces boasting prosperity. Notre Dame is a stylistic visual timeline from early gothic through later Rayonnant styles. -
Italian Gothic developed its own distinct style, blending Northern Gothic and Byzantine styles, evident in this piece. Clear influence from the ethereal style of Byzantium (Gold Background) with the heightened emotions of Northern Gothic (Stab and Bleeding). We also see new introductions; 13th century developments of Christ as a man who lived and died, as well as Giotto's early experimentation with chiaroscuro. These progressions influence developments that are distinctly Italian Gothic. -
This piece depicts the thematic shifts that occurred through the Gothic period. The Virgin and Child are presented in much more naturalistic and humanizing form. The body of the Virgin has movement and the Child reaches up to touch the Virgin in a tender moment, meant to evoke emotion in the viewer. It is representative of the increasingly emotional works of the Gothic Period. The Child is depicted as a child, though holding a pomegranate foreshadowing his death and resurrection. (Harris, 2017)