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• The Renaissance

  Posted on March 23, 2015 5:15 pm by Elena

  The Renaissance

   

  

   

  Is called Renaissance the great artistic and philosophical movement produced in Europe at the end of the 15th century which started in the city of Florence in Italy. This movement manifests itself particularly in the arts, admiring and taking as a model the classical antiquity and its anthropocentrism: (is given preferential interest to the human body, in particular to the naked, whose anatomy is studied and carefully copy).

  The name of Renaissance alludes to what this movement wanted to be: a revival of Greco-Roman culture.

  Humanism revitalization during Renaissance period

  It began as a movement driven by artists and intellectuals, under the sign of humanism; in which for them the figure of man was paramount. It is an Arts revival in which from the point of view of ethical and aesthetic issues, the proposals represented are no longer absolutely according to the Christian concept of life.

  The intellectuals of the Renaissance among other things, were inclined for the fusion of Christian belief with the knowledge of the ancient classical period of Greece and Rome, acting according to it, not oppose to Christianity, but towards been better Christians armed with the understanding of the work of ancient scholars. The philosopher Giovanni Pico de la Mirandola (1463-1494) in his “Prayer to the dignity of man” summarizes the humanism of the Renaissance and León Battista Alberti epitomizes in his multifaceted artistic and literary works the merits of the new man of the Renaissance with a big craving for learning.

  Influenced by modern scientific advances like the study of medicine and philosophers works such as Cicero, the renaissance mans developed a particular optic, appreciating beauty through the nostalgia of the classical past. A taste for representing the anatomical realism of human body is developed, accompanied by its accurate graphic representation. The divine spirit of man, their emotions and their ability to communicate with his creator, are the source of main inspiration in the Renaissance, at the same time pondering the ability of man of been able to create innumerable practical and beautiful things and get the knowledge needed to be a better man and better Christian.

  The Italian Cities States; first Florence, then also Venice and Milan, which had seen Greco-Roman culture been displaced from their regions during the middle ages, gradually evolve during the late Gothic period towards a rescue of the ancient traditional concept of beauty. For artists and philosophers of this period, it was necessary returning to the perfection of forms and circumvents what for them were nothing more than the Barbaric Gothic and Byzantine styles. Although naturally they don’t get freed immediately themselves from the Gothic influence that still had a lot of weight, both in the country as in the rest of the continent.

   

  

   

  After the Dark Age and having survived the black plague, begins a period in which there is more appreciation for the individuality and the obtaining of knowledge through personal achievements, which for them were worth as much as gold. The Renaissance period marks the beginning of the modern era in the history of mankind.

  A new cult of Fame from that moment arises and sculptural monuments and paintings are meant to enhance the figures importance and their achievements. No longer being rich marks the only way to belong to a high class, for that point onward is valued the individual as a creator and very appreciate what he is capable to brings to society in terms of knowledge and personal success.

   

  

  Artist during Renaissance period begin to be recognized as such.

  Artists are respected and considered as important elements within the community and are released from the guilds of craftsmen. For them art was no longer an anonymous service to God and the Church. In the Renaissance the reason and knowledge were the artists personal hymn, praising the beauty, the proportion and harmony, both the nature and the image of the human being, for them essence of the sacred universal whole.

  Already recognized as artist and not as mere anonymous craftsmen, they accept custom work petitions from private sector as well as from the clergy. They start signing their works openly during the Renaissance, which helps the history of art to recognize and classify their works from this point onwards more easily.

  Main causes of the Renaissance emerge.

  -It was possible to study the techniques and knowledge from ancient’s monuments and sculptures, thank to valuable manuscripts found in universities and medieval convents of Greek and Roman authors.

  -The study and use of Latin as a cultured language, which made possible reading of the classics, as well as professional skill, contribute from the arrival of Greek exiles from the Turks invasion that were fleeing to Italy.

  -The presence in Italian land of Roman ruins which gave rise to the desire to know the civilization that had set up magnificent monuments. (Such was the case of the artist Filipo Brunelleschi) who study the foundations and columns of those monuments.

  -The invention of printing by the German Gutenberg, which contributed to the diffusion of the writings of poets, philosophers and historians in ancient times. The books mechanically printed made possible more people could have access to them.

  – Geographical discoveries, the advancement of science, progress of scientific theories, (among of them Galileo’s centrist helium theory that revolutionized the scholar’s thinking).

  – Development of several new techniques in diverse fields that paved the road towards innovative achievements in the XVI c.

  GENERAL CHARACTERISTICS OF RENAISSANCE ART

  – Imitation of architecture and sculpture of Greece and Rome.

  – Realization of works with what for them was the ideal beauty, adjusted to canons dictated by reason.

  – Search for the serenity and balance that comes from the harmony of the whole.

  – They manage to capture the ideal way to correctly represent the aerial or linear perspective in painting, as well as the sensation of corporeality or three-dimensional figures.

  – Applies the concept of spatial illusion in painting.

  – Creation of equilibrate and harmonious works, whose clarity and perfection gives them a permanent validity.

  – Expansion of themes in works such as mythology, religion, history, legends, portraits, landscapes, heroes etc.

  – Conceptualization of the works that are endowed of a clever message with veiled codes.

  – Application of the study of the divine proportion based on the human figure.

  – Realistic representation of nature and the man.

  – Use of expressive gesture reaching the highest intensity with the mannerisms.

  – Figures are placed in complex formal arrangement.

  – Use of chiaroscuro.

  – Works of art in the Renaissance period tends to be monumental.

  New painting techniques in the Renaissance

  – The invention of linear perspective found by Filipo Brunelleschi in architecture and adapted by Masaccio in painting, marks a significant milestone in the possibility which the artist can represent and express the message, using scientific principles of optics that help the spatial display of scenes.

  – With the increased use of the canvas as a base for paint opens new possibilities for the creation of new pigments on basis of oil; endowing the paintings of beautiful colors and sublime contrasts of light and shadow.

  -The multitalented artist Leonardo Da Vinci (1452-1519) dominates the aerial perspective representing the atmosphere that wrap objects, blurring the convergent lines, eliminating the boundaries of shape and color, which gives a very real impression of distance. He constantly experimented with lacquers and adhesives but not all of them gave good results and for this reason his few works (many not totally finished) are not kept in good condition. Leonardo da Vinci achieved outstanding results with what is known as esfumato in which the tones of colors degrade to merge with each other imperceptibly, creating volume and depth. In his famous scheme of the Vitruvian man, shows a detailed study of the divine proportion based on the human figure, principle followed later by many other painters.

   

  

   

  – The use of chiaroscuro in painting allows contrast of lights and shadows, giving dimension to a painting and the illusion of depth or three-dimensionality.

  – The rediscovery of the mathematical proportions of the human body in the 15th century by Leonardo and other authors is considered one of the great achievements of the Renaissance.

  – Foreshortening is a technique used by artists such as Andrea Mantegna in which to create the illusion of depth the objects receding strongly into the distance or background. The artist records, in varying degrees, the distortion that is seen by the eye when an object or figure is viewed at a distance or at an unusual angle. It makes parts of an object or subject closest to you appear much larger relative to other parts or figures. The closer to the viewer the bigger is the figure.

   

  

  Death of the Virgin	Author:Andrea Mantegna (1431-1506)
  It makes parts of an object or subject closest to you appear much larger relative to other parts or figures. The closer to the viewer the bigger is the figure.	painted in (1462–1464)
  Foreshortening technique	Technique: Tempera and gold on panel

  In the next article will be summarize the Renaissance in art seen according to its division for periods of time.

  The Trecento, the Quatrocento and the Cinquecento.

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  📂This entry was posted in The Renaissance 📎and tagged Humanism Renaissance Vitruvian Man

• Key stages of the Renaissance

  Posted on February 20, 2015 12:38 pm by Elena

   

  

   

  Key stages of the Renaissance

   

  1. PRE-RENACIMIENTO or TRECENTO: (13th and 14th centuries).

           This period coincides with the European Gothic period.

             This period is considered as (Early Renaissance).

  1. QUATTROCENTO: (until the end of the 15th century).

             Its cultural centre is the city. Considered as the (High Renaissance)

  1. CINQUECENTO: (fills all the 16th century).

        Its head is Rome. (Considered as the Late Renaissance) in which develop as well the Mannerism at the second half during this period.
   

                         Pre – Renaissance or Trecento: 13- 14 centuries of our era.

  XIII y XIV (A.C)

  This early period in which emerge the Renaissance is known as Pre-Renaissance or Trecento and although in Europe; still remains in preference the Gothic and Byzantine art, in Italy these strictly framed artistic conceptions based exclusively in religious ceremony and thematic don’t resonate with them, therefore the illustrated Italian men’s were not willing to give up its efforts to restore the old classic concept of beauty. The one that belonged to their ancestors and they feel so proud about it and also revere so intensely, even more, since they could learn about the ancient classic period in manuscript uncovered in secrets rooms at old churches. Those were translated to Latin during the 13 and 14 centuries helping to better understand the art of the pass, as well from the discover of ancient Roman’s and Greek ruins containing awesome sculptures.

  In relation to arts can be seen in Italy the application of certain basic understanding and trends that some artists during the Gothic period had already appointed. Those concepts work well with the new changes they wanted to implement in this new period. So they took from formidable painters like Giotto Di Bondone and latter also from Rogier Van Der Weyden; the high expressions of drama. From some other painters they took as well advance artistic theory exponents; as Jean Van Eyck conceptualization of painting through clues and hidden messages.

   

  

  The still strong artisan formation of painters, architects and sculptures during the Trecento, limit somehow their work to flash towards a rapid change. It took a while so they openly and definitely could break with the preconceived Gothic aesthetic bases, but also influenced the fact that still the church was their main client in that period and they set restricted rules that decrecreased the free artistic expressions.

  The application of new technical advances was merging slowly, with the tendency to highly; little by little classic concepts of perfection and proportionality among Italian artist, resulting from this interesting mix very fine works of art which were a little more intellectualized, where the artist gradually starts to communicate more clearly its personal message and declare by the second half of this period onward their choice of style with new freedom, regardless of been representing religious subjects, portraits, landscapes, building a sculpture or a cathedral.

  This new optic open the way for the humanism to set in the artist preference. In this period are laid the foundations that will unify the most important elements that conform properly the Renaissance style, these elements emerging here are perfected during the High Renaissance latter with important figures which are properly recognized as artists, and not like merely artisan.

   

  Quatrocento

     XV (A.C)

   

  

   

  –          In this period in the 15 century is where formally begins the Renaissance in Italy and are seen more clearly the preferences to follow classic patterns in art.

  –          Their works have a great sense of balance and harmony.

  –          There is a radical transformation of art and artist and an explosion of different new themes.

  –          In architecture occur a radical break with the formal middle ages language characteristic and are settle the fundamental principles of the new Renaissance formulation, where the elements of the classical past as for example; the arches and the columns orders are integrating within the new formulas of construction, such as the use of plates of marble’s and the so-called coffers.

   

  

   

  –          In this period churches of centralized plant are built in greater amount although the Basilica structure is still been builder as well.

  –          The Church still commissioned the majority of works of art by which the Quatrocento architecture is still contemplating among its important buildings temples of the most varied condition.

  –          Opening to the representation of varied decorative elements with new themes in the exterior of the building, like polychrome walls and opening of Aedicule.

  –          It is frequent the construction of hemispheric or ogival domes.

  –          The palaces are growing in importance and are fully integrated with the city.

  –          The sculpture seeks the representation of the canons of beauty of classical antiquity and the representation of an objective realism. The human body is represented with greater realism.

  –          It’s Reborn the sense of proportionality in the sculpture whose canon is set as nine and ten heads.

  –          The nude gets a new thematic force related on many occasions with the mythological theme in sculpture, although it’s also represented in painting.

   

  

   

  –          Thematic breadth in which nature is more realistic and detailed and there is a tendency to make imitation of sculptural models of antiquity.

  –          In this first period of Renaissance painting there is concern about the visual representation of nature inspired by pictorial models of classical antiquity.

  –          After several experiments is found the geometric or linear perspective in this period, in which mainly closed type triangular compositions are illuminated with a translucent light distributed homogeneously in the work.

  –          Chromatic complementarily is seeks in the paintings distributed in a balanced and harmonious colors, using several techniques and different media such as frescoes, oil paintings, temples on fixed supports or portable as tables or canvases.

   

   

   Cinquecento

       XVI (A.C)

  –          This period of high classicism is developed in the first half of the 16th century, is important for Rome and the so-called Princes Popes who have an important role in the development of the art acting as patrons, with Julio II, León X, Clement VII.

  –          Important artists receive commissions to decorate the Papal rooms. These include Michelangelo Buonarroti, Donato Bramante and Raphael.

   

  

   

  –          In relation to architecture the classical influence on the use of orders and construction techniques is maintained.

  –          Is shown greater luxury and sumptuousness in the palaces combining the practical function of the art work with the decorative purpose.

  –          Centralized plants in churches are used but with new architectural approaches that were based on the humanist thought.

  –          Among the major works in this period, can be cited the new Vatican Palace, the works of the architect Bramante and architect Palladio village’s.

  –          Painters are also innovators and scientists as well, experimenting with many sources of materials, drawing styles, seeking to obtain new color and the representation of atmospheres in they work. Leonardo Da Vinci was one who highly in this scientific experimental work in art.

   

  

   

  –          By half of the Cinquecento period toward its zenith are conformed gradually the bases of the Mannerisms’ Movement.

  –          Balance and harmony are maintained in the realization of many sculptures but there was some trepidation and dynamism in forms and expressions which the sculptures of Michelangelo Buonarroti are an example.

  –          In painting although much of them remain balanced and harmonious with the works of Rafael compositions for example, revolutionary contributions are introduced like the esfumato technique and the aerial perspective by Leonardo da Vinci.

  –          The first Mannerist painters incursion occur such as Raphael, Titian and Giorgione whose work’s depicts certain distance from the classical harmony of the whole as the period rich the zenith.

  –          An anti classic answer to classicism dogmas occurred in the second half of the 16th century with the Mannerism movement, which are the preamble of the future Baroque style.

  –          The art begins to lean at the end of the 16th century towards tension against the classical balance, spatial confinement and stress against the extensiveness of the space, contrasted against the homogenous light, intense chromatic against the smooth application of color. Their works get huge in volume, looking like giants against the former gracility and perfect dimensionality in the past.

   

  

   

  –          High expressiveness of emotions is shows against the schematic idealism. But above all is appreciated the increase feeling of restlessness and anxiety contrary to the usual classical calm atmosphere and order. Al this agitated expression and distances to the classical proportions pave the way to the incoming period in art.

  After analyzing the emergence, evolution and consolidation of this innovative movement in Art can be appreciated how important and ground-breaking was in the development not only of the man’s artistic creations, but also how revolutionary and transcendent was in the development of human history in general. The studies about the Key stages of the Renaissance help us to understand the radical changes their trigger, which set in motion the progress of a new modern era with open mind. An era in with men does dare to situate the human figure as center of the universal whole instead of revolve exclusively around a god.

   

  In the next post will be address in more detail the three fundamental periods of the Renaissance in Art:

  1. Early Renaissance.

  2. High Renaissance.

  3. Late Renaissance.

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• Is Art History a science? When did the study of art history started?

  Posted on September 24, 2014 6:34 pm by Elena 3 Comments

  Is Art History a Science?

   

  The history of art classify the information about men’s art work and systematizes this one according to historical periods, geographic regions, social aspects, artistic techniques and styles, so if we consider that science is an organized system of knowledge and the methods required to obtain them, well; then we can say that the history of art is a science; even though depends greatly on other disciplines to create this system of classification and maintenance of the art works that form the artistic heritage of the Nations.

  The history of art lies within the social sciences that are those that focus their study on the activity of the man as part of a civilized collective . The object of these Sciences is to know the causes and consequences of human behavior from an individual and social perspective. Although in the history of art specific case; these studies revolve more around the artistic objects left behind by men in the full range and diversity in which they are grouped and classified for a better understanding by styles and historical periods.

   

  When did the study of the history of art started?

   

  Art history began as academic discipline at the end of the eighteenth century with the creation of the first museums, getting a great input at the end of the ninety century in Europe with serious research by authors whose work pave the way to the twenty century art specialist, but the studies about the humankind art work has precedents that date to the ancient times.

  Empirically and throughout history there have been several people as philosophers, artists, historians, religious figures and even kings and Emperors who written about what they had witness in relation to the development of the art works they so much appreciated, some trying to organize some sort of classification at the same time that diligently work to safeguard those art works. A good example was the writer, architect, and Italian painter Giorgio Vasari in the Renaissance period and others art lover’s who contributed to uphold the artistic heritage and valuable information of individual artisans and artist, as well as the historical facts that influence their creations.

   

  

   

  It is also worthy of mention that many artistic works were saved thanks to had been kept in collections of individuals that have preserved this heritage for pure art’s sake but also because envisioned the monetary value as an economic investment. Known as Maecenas they helped to create works of art financially sustaining artists at the same time they contributed to keep save their art work and in good physical condition. Many keep a very helpful historical account and specific information related to those art pieces as well. Such is the case for example of the patron Jean I of Berry in France thanks to which we can today enjoy magnificent illuminated manuscripts commissioned for him to the Limbourg brother’s.

   

  

   

  The Emperor of China Qianlong who was a major patron of art was a great collector, and acquired much of China’s “great private collections” by any means necessary reintegrating their treasures into the imperial collection. Qianlong lavished the imperial collection with his attention and curator efforts; collecting carefully the art market in rare paintings and antiquities, using a team of cultural advisers. Sometimes, Qianlong would pressure or even force wealthy courtiers into yielding up value art objects: he did that by pointing out failings in their work, which might be excused if they made a certain “gift,” or, in a couple of cases, by persuading the proud owners of those pieces that only the secure walls of the “Forbidden City” and its guardians could save such precious painting from theft or from fire.

  This tactics were not exclusive from Qianlong since many kings and important wealthy figures along mankind history accumulate important amount of art work; buying them or by other not so clear or legitimate methods.

   

  

   

  The cathedrals and churches as the owners of many important works of art had managed to keep them from being looted or destroyed; as much as it was possible, thanks to which today we can still see important manuscripts and beautiful ecclesiastical paraphernalia dating from Byzantine, Romanesque, Gothic and Renaissance periods. Other religious cults as Buddhism have managed to preserve the important works of art despite the wars, invasion and prosecution of their religious beliefs, as they did with for example the amazing collection that Buddhist monks kept hidden in the Gobi desert and was finally discovered after a Millennium in anonymity, or the hundred of hidden sculptures also found in India and sealed from the world.

  The Mogul emperor in India Akbar (1556- 1605) was also  an art patron  responsible for the explosion in creation of magnificent art works in with the paintings from his imperial workshop highlighted and many have been preserve in very good conditions.

   

  

   

  There are many other names of individual collectors and important figures than can be mentioned that are related with the gathering of artifacts through history in different ways and who bundled in many cases this collections with important information and clarification about them, but the list would be extensive. Nevertheless their empirical work; regardless of their motives, have help to gather important historic information about those artifacts, but also to count with some sort of base, upon which specialist are rely  in order to classify and organize the art history studies.

   

  Other facts about the studies od Art History

  The art history studies did not get  the same impact in all countries at unison since its formation, mainly because of social, historical and political reasons. Its heyday began in Europe and then in the last sixty years also in United States not being until the middle of the twentieth century that this interest in the study of art spread to Latin America. For countries who endure financial  difficulties and  lack possibilities in the Art History studies had been vital  support from more developed nations as well as from some important organizations such as UNESCO.

  The accumulation of knowledge that form part of the current classifications of art history periods, trends and artistic styles are subject to constant changes  as the results of multidisciplinary studies and modern scientific techniques  provide them with new additions  to update  the database .

  First and foremost there is the need to form specialist in those regions that can be ready for such challenges and  them; a very important fact this one, that they can reach systematically the updated informations about the new findings and research. But without the right tools  and adequate financial budget  is not possible to obtain the optimums results.

  Since the 20th century there has been an effort to re-define this discipline to be more inclusive of non-western art, art made by women, and vernacular creativity. The era of digital technology has helped to bring this knowledge to all Nations and the masses based precisely on the possibilities that digital medium and the internet facilitate.

   

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• Metal Work in Romanesque

  Posted on January 10, 2013 3:55 pm by Elena Comment

   

   

  

    Detail of the doors in the Basilica the San Zeno in Verona

   

  Metal Work in Romanesque Period

   

  In early Romanesque period Byzantine influences were strong and were the one adopted in Europe as favorite, in which the decoration of caskets for jewelry and mementos, showed great mastery in the finish, careful detailed figures against the background as well of great management  locating  those figures, who were very well adapted to the shape of the container. Most of these pieces in that early time of Romanesque were made in gold and silver following the Byzantine craftsmanship style.

  The metal work urban industries in the middle and late Romanesque period finally get rid of the Byzantine influence and star working in their own forms and styles that was favorer with the introduction of new techniques. Even when the Church still order the majority of the work, the popular savor was widening and have more range and more different pieces start to be produced.

   

  

   

  Use of enamel in Romanesque metalwork.

  The work made principally in gold was replaced gradually by some pieces made in cooper and bronze;  to which a process of enameling applied over them made possible a more unique work and at the same time a more diverse and easy to produce type of metal work pieces. With enamel surfaces a definitely less expensive method than the Byzantine traditional workmanchip. Enamel was gradually overcoming the metal craftsmanship but was not less beautiful, was definitely not coarse nevertheless; since the new technique favored a different approach to good quality pieces without the costly precious metal gold.

  Precious and Semi-precious gems were used to highlight this pieces and since the cleric was the principal recipient and payee and were the one that could afford such sophisticated metal work, the Cathedral and Church use them in religious ceremonies and to keep relics; but also they had others uses;  less ecclesiastic and more on the practical side, in which the religious theme were however still present. Occasionally glass was also cut and insert as gems.

   

  

   

  Metal work, including decoration in enamel, became very elegant and complicated with profuse decoration, and many spectacular shrines made to hold relics still can be appreciated in our days. Although large reliquaries and  frontal altar’s were built around a wooden frame, the smaller caskets were still done using metal and enamel. Some secular pieces, such as mirror cases, jewellery and clasps made for the rich people, nobility and important political figures,  show the mastery that was achieved in that period in medieval  times.

  Also have been conserve; despite the abuse this pieces affronted trough times due to wars and political clash, important pieces made during the Romanesque Period like:

  • Crosiers
  • Plaques
  • Pectorals.
  • Crosses and similar objects.
  • Armors.
  • Shields.
  • Swords.
  • Knives and lances.

  All those objects show a craftsmanship that represent the transition and gradually enriching of artist forms occurred in this period. The ornamentation of this artifacts go from the rudimentary decorations in early Romanesque period to finally evolve in a sophisticate style that will be reached in Gothic period.

  The craftsmen and artisans of Romanesque fill their metal work with matters and images, with codes of meaning, symbolic representation of the transcendent importance the cleric award to their religious ideas and Chatolic Fay. Most of this metal work, as well as other artistic work made in different materials; were in the majorities of cases destined to promoted ecclesiastics believes and to propagate the sacred word. The majority of people could not read, the images in those metalwork contribute to identify better the messages.

   

  

   

  Chip-carving methods of metal craftsmanship employed by German jewelers; as well as other
  techniques develop and executed by Celtic Metal work craftsman included:

  • Gold filigree.
  • Multicolored stud like enamel.
  • Millefiori.
  • Amber, as well as stamped foils. were made with exquisite results.

  The main contribution of Celtic art to Romanesque Period iconography lies today in its abstract design, which can be incorporated into metalwork, carving, and fabric and so on; their figurative tradition was generally too abstract for use.

   

   Some of the best known Examples in Romanesque metal work pieces are:

  –          Shrine of the Three Kings at Cologne Cathedral by Nicholas of Verdun and others (1180–1225).

  –          The Stave lot Triptych and Reliquary of St. Maurus.

  –          The Gloucester candlestick, early 12th century.

  –          The brass font.

  –          The bronze doors, a triumphal column and other fittings at Hildesheim Cathedral.

  –           The Gniezno Doors.

  –          The doors of the Basilica di San Zeno in Verona.

  –          The silver Ardagh Chalice built up from over 350 separate parts. Ireland.

  –          The bronze Moylogh Belt Shrine from Celtic craftsmen.

  –          The Cross of Cong, constructed in Ireland for the King Turlough O’Connor in 12 C.

   

  

   

  The beauty of these Romanesque Period Metalwork, done with such excelent craftmanchip are a legacy about their craftman abilities, but also a tangible testimony of the history of their Fay, they constitute in a way an open book of knowledge from what we can now absorve in a beautiful way the inheritances they leve for us today.

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• Romanesque Painting

  Posted on January 8, 2013 3:23 pm by Elena 2 Comments

  

                                                                                Romanesque painting

  Painting in Romanesque period has a notable development, because the vast space of smooth walls were appropriate to the pictorial decoration; therefore, the painting was also a subordinated art to the architecture. The need to get a quick religious impromptu in the spectator as soon as they approach the interior of this buildings  made the use of painting a valuable resource.

  A clear Eastern influence through the art of Byzantium  can be seen in the lack of perspective, plain colors, symmetrical composition, rigidity of the figures and the blankness and expressiveness’s in faces, always showing their amazed eyes.  Another element is a marked frontality of the figures  that strengthens the communication with the spectators.

  

  The technique used is that of the Fresco, notable examples are:

  • The Catalan Romanesque churches that use effulgent colors and abstract motifs of symbolic meaning.
  • The Italian churches, where painted religious scenes already shown true commitment to copy nature with fidelity.

  These are paintings created to decorate and as means of dissemination of religion; therefore topics revolve around those themes.  The images of these paintings become an intellectual communication vehicle.

  

  The paintings destined to illustrate the religious and idyllic passages and reinforce the clear understanding through the narratives; use a simple images representation supported by intense and contrasted colors, as well as black out liner contours against the simplest background possible.  

  Romanesque painting has therefore two important features one is its symbolic nature and the other is itsnarrative sense.

  

  Romanesque painting general characteristics

  • It is used to accentuate  religious message with anti naturalistic representation of reality.

  • Clear intent to represent the facts through the simple explanation of the sacred Word.

  • It has strong religious content through gestural representation.

  • Intensifies expressive representation through the frontality of the figures.

  • Bright and intense colors are used.

  • It uses the spatial hierarchy of  topics.

  • Apply conventions in painting that allow a clear reading of  images.

  • Reiteration in the use of two important themes: The Virgin and the Christ Pantokrator (In Christian iconography, refers to a specific depiction of Christ) and narratives of the old or the New Testament.

  • Symmetrical composition.

  • Perspective of Tolomeo (divergent lines).

  • Hieratic and rigidity of the figures that intensifies the formality or seriousness of the religious theme.

  

  

                                                                                                                                           

  Treatment of the figures in Romanesquepainting:

  • Flat
  • Elongated
  • Without perspective or with false perspective.
  • Gradually Stepping of characters with different sizes according to their relevance or hierarchy.
  • Eyes and hands with dimensions disproportionate to emphasize spiritual expression.
  • It uses a range of bright colors (red, yellow, orange and blue)
  • Contiguous stripes of colors intensive contrasted between each other.
  • Use of the color black to outline the figures against the background.
  • Simplicity in the details.
  • Profiles with thick strokes.
  • Formal outlining.
  • “V” shaped feet.
  • Perspective of divergent lines.

  

  Glass Painting in Romanesque Art

  The glass painting was in this period also a format used to support the religious propaganda, making good use of the possibility to narrate the passages of the bible with a potent vehicle; using the strong power that the light aport coming from the exterior of the buildings through the decorated glass windows. This colored and beautiful  windows were definitely an eye cashing element that produce and overwhelm feeling in the spectator; at the same time that give a direct to the point messages, driven to efective represent the fervor and adoration of the religious characters’.

  The use of barrel vaults made possible the construction of huge interior spaces; built entirely of stone, but since the roofs were extremely heavy, the walls had to be tremendously thick to prevent buckling. Strong walls also meant fewer windows, so the insides of Romanesque churches often look dim and feel like fortresses. It is for this reason that the only sources of natural light become so important and since they were so intense colored it is hard to miss them.

  

  Early Romanesque style stained glass was influenced by the linear patterning, abstraction of the form and severe frontality also found in Byzantine Art. Most church windows exhibit individual monumental figures with few tiers (a row placed one above and behind another row) in lozenge shaped groupings.

  The stained glass technique in the Romanesque period give some significant work of art; been the predecessor of the magnificent glass windows of the ghotic period. their beauty; that can still been appreciated in the buildings dated from those early times in the Middle Ages show the talent of the glass blower artisan’s who use important skills passed from the Byzantine period and passing them enriched to next generations.

  A strong or sudden change in political, social and religious conditions trough times jeopardized the survival of stained glass beginning in the sixteenth century; making decline and destruction of a high quantity of those magnificent glasses that unfortunate had been loss.

  This effective format of painting was widely use further by the Gothic style with such profusion, beauty and perfection in cathedrals and Church that is hard to think this days in those religious buildings without the images of the glass painting windows come immediately to our minds. Since this glass painting use the possibilities that light itself offer to this format so effectively, they were continued used trough times to moderns day; although the stain glass as a technique become a loss art; been substituted for new techniques of  glass window painting in the renaissance period.

   

  Romanesque Manuscripts

  These manuscripts contained some of the best painting from the Romanesque period of art, as they were not restricted by the fresco medium; that were usually applied over the thick walls. The manuscripts offer the possibility that could be highly detailed and the pictures were important; as many of the people who looked at the books could not read or write, so the images contribute to communicate the messages.

  The majority of illuminated manuscripts are of a religious nature; usually bibles are is the case of the rest of the painting theme in the Romanesque painting art. Miniature in many cases using intense and eye cashing colors were sometimes wrapped up by the text or accompanied by Initials or small text. Vivid colors in the figures clothing; contrasting with the simple backgrounds in wich they are setted, help to get the messages  with more effectivity.

  The embellishment of text with gold or silver; gave the impression that the page had been literally illuminated, most books were produced in a team rather than by an individual. They were extremely expense and only the clergy could afforded.  Those manuscripts in Romanesque period have a distorted and very flat perspective and the feet are turned to the side, but the body is flat as well, similar to Egyptian hieroglyphs.

  In the early Middle Ages nearly all illustrated manuscripts were produced by monks. However, by the 15th century artists in the towns were commissioned to do this work. Although they rarely signed their pieces, tax records suggest that these artists were often women.

  

  Illustration from Christine de Pizan’s “The City of Ladies,” written in the 15th century, representing woman’s working in the illustration of manuscripts process. 

  

  I highly recommend visiting this link that offer very good and detailed information about Manuscripts in this period of Art. http://share.ehs.uen.org/system/files/manuscripts.pdf

  or click in the picture below to go to this presentation.

  

   

  Romanesque paint over wood board and crucifixes

  Paintings over wood surfaces also have the same themes and characteristics as the rest of the painting that was made in the Romanesque periods. Influenced by Byzantine elements and culture the Romanesque use vibrant colors figures over a simple background, linear patterning, abstraction of the form and severe frontality. The forced perspective and unnatural representation of the figures respond to the symbolic characteristics to carry the messages more effective.

  

  

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