Early Middle Ages C 650 1150 AD Artist

Early Middle Ages C. 650 -1150 AD Artist as Propagandist

New Vocabulary: Enamel Westwork Narthex transcept Choir Apse Crypt Psalter

• “The Dark Ages”- period between classical antiquity and its rebirth (the Renaissance) • 650 -750 - the center of civilization moved northward into Northern/Western Europe • Artwork was portable at first due to movement of the people • Decorative animal motifs prevailed • Metalwork was principle medium- small objects translated into wood, stone, manuscript illustration

• Celtic-Germanic Style • Animal style- Germanic tribes that entered Western Europe during the declining years of the Roman Empire brought artistic traditions with themfrom Iran and Scythian Gold • Made of gold and enamel • Four pairs of symmetrical motifs- man between fighting animals- this is a popular motif in early Christian Art Purse Cover, 625 -33 AD

• Details are realistic but surface is covered with lacy ornamentation • Used to endow Viking ships with character of mythical sea dragons Animal Head, from Oseberg Ship-Burial c. 825 AD

Cross Page from Lindisfarne Gospels, c. 700 AD • Hiberno-Saxon Style • Earliest Christian works made north of the alps • Irish (Hiberians) assumed the spiritual and cultural leadership in Western Europe • “The Golden Age of Ireland”-never became part of the Roman Empire • Converted to Christianity by missionaries but were never Rome-centered • Hermits living in countryside formed first monastaries-these became centers of learning and the arts, missionaries spread Christianity over Scotland, France, Netherlands • Manuscripts used to spread the Gospelmonks produced them in large numbers • Word of God was looked upon as sacred object with visual beauty- more decorative than narrative • Precise and maze-like- followed strict rules

• Human figure was beyond the Celtic or Germanic artist’s reach • Cannot view human figure as an organic form- overcome with decoration Crucifixion, plaque from a book cover, 8 th C. AD

Carolingian Art- • Charlemagne’s empire split into 3 parts by his grandsons- political power held by local nobility • Collection and copying of ancient Roman texts-an attempt to restore classics so they could link themselves to Roman empire • Palace Chapel Aachen (capital for Charlemagne) based on S. Vitale- tried to recreate the Justinian Era • Much harder to create on Northern soil-columns and bronze were imported • Designed by Odo of Metz- earliest known architect north of the Alps • Not as fluid as Byzantine- more compartmentalized • Has a monumental entrance called a westwork- a two-tower façade that will become common in Medieval churches Palace Chape at Aachen, 792 -805 AD

Cutaway drawing of the same

• St. Riquier- has been completely destroyed but pictures remain • More elaborate westwork • Leads into a vaulted Narthex • Separated from eastern transcept by a compartment known as the choir Abbey Church of St. Riquier, 799 AD

• Important document of the time period, shows the importance of the monastery • Plan of a basic monastery agreed upon by central council that could be modified to local needs • Complex structure that emphasized the church as central to the plan • Church plan is unique to the monastery system- to fit the needs of the monks rather than the public • No monastery fits this plan, but it serves as a guide Plan of a Monastery, St. Gall, 820 AD

Redrawn so its more understandable

• Gospel books of Charlemagne have survived in great numbers • St. Matthew- very classical style except for the halo • Monks were very knowledgeable about Roman style of painting Gospel Book of Charlemagne, c. 800 -10 AD

• Utrecht Psalter- entire book is illustrated with pen drawings • Architecture, landscapes are very Roman, but very rhythmic rather than static Utrecht Psalter, 820 -32 AD

• Classical style translated into Carolingian terms • Entire picture has intense energy and motion • “the frenzy of divine inspiration” • Gazes on the symbol of St. Mark, the winged Lion- the divine St. Mark, Gospel Book 816 -35 AD

• Celtic-Germanic metalwork tradition • Crucified Christ shows no pain- had not endowed him with human suffering yet (this will come later in medieval art) The Lindau Gospels, c. 870 AD

Ottonian Art • 870 AD -remains of Charlemagne’s empire was ruled by two grandsons who ruled France and Germany. Europe was weak and exposed to attack • Normandy section of France raided by Norsemen (Danes and Norwegians) • Adopted Christianity and from 911 on, leaders were recognized as dukes subject to king of France-they became an important political force • Germany- power shifted north to Saxony- King was Otto I-extended rule over most of Italy and was crowned emperor by the Pope

• Germany led nations politically and artistically • Gero Crucifix at cathedral at Cologne • Image of Christ that was new to Western art- that of the savior (Christ died for sins of humans)-concerned with the human suffering of Christ • Physical strain and mask of agony seen here • Realistic depiction of pain, but not really gravity (he’s kind of floating rather than hanging) The Gero Crucifix, 975 -1000 AD

Plan, Hildesheim Cathedral, 1001 -33 • Similar to St. Michaels but much more symmetrical • Has a harmonious balance between longitudinal and transverse axes

• Nave is majestic and spatial • Introduction of a crypt beneath the choir- usually housed the tomb of a saint Hildesheim Cathedral, 1001 -33

Gospel Book of Otto III • Echoes of ancient art-pastel background similar to Roman landscapes • Architectural scenes are now churches • Figures look very different- Christ is seen as clean-shaven (Roman tradition) • Emphasis has shifted from physical to spiritual action • Christ and Peter are larger than the rest, disciples are crushed together Christ Washing The Feet of Peter, from the Gospel Book of Otto III c. 1000 AD