• Save
Arh2050 romanesque art
Upcoming SlideShare
Loading in...5
×
 

Like this? Share it with your network

Share

Arh2050 romanesque art

on

  • 716 views

 

Statistics

Views

Total Views
716
Views on SlideShare
353
Embed Views
363

Actions

Likes
1
Downloads
0
Comments
0

8 Embeds 363

http://arh2050-1730-fa.blogspot.com 196
http://arthistoryi.blogspot.com 130
http://www.arthistoryi.blogspot.com 17
http://www.arh2050-1730-fa.blogspot.com 13
http://arh2050-1730-fa.blogspot.in 3
http://6435500815085587245_a4cdd590e679f00c62d927022cebcf4d60dfa5e0.blogspot.in 2
http://www.blogger.com 1
http://9095334816607485397_fa0f09179880e45f27f02f204a4465baa9f278bd.blogspot.in 1
More...

Accessibility

Categories

Upload Details

Uploaded via as Adobe PDF

Usage Rights

© All Rights Reserved

Report content

Flagged as inappropriate Flag as inappropriate
Flag as inappropriate

Select your reason for flagging this presentation as inappropriate.

Cancel
  • Full Name Full Name Comment goes here.
    Are you sure you want to
    Your message goes here
    Processing…
Post Comment
Edit your comment

Arh2050 romanesque art Presentation Transcript

  • 1. ROMANESQUE ART & ARCHITECTURE College of Central Florida Professor Will Adams
  • 2. ROMANESQUE ART Key Questions When Studying ROMANESQUE ART PILGRIMAGES… Why were there so many? How did they affect the building of Churches? CHURCHES… Why were Churches at this time given the name ‘Romanesque’? What were the common elements of a Romanesque Church? HISTORY… How did William the Conqueror’s victory in England affect them? What is the Bayeux Tapestry, and what’s so special about it?
  • 3. Test Strategies and Concepts for ROMANESQUE ARCHITECTURE IMPORTANCE OF THE BAYEUX TAPESTRY The history behind the making of the Bayeux Tapestry, actually a work of embroidery, allows students to review issues of patronage. A major document of the Norman invasion, this brilliant art object can frequently be used as an example in long essay responses on the AP* exam. Understanding the story of the tapestry, and identifying major episodes from it, can be useful facts for students to know. ELEMENTS OF ROMANESQUE ARCHITECTURE The Romanesque style and how it differs from Classical architecture and Gothic architecture, which students will learn about in the next chapter, is the single most important concept that students should remember from this period. The text provides excellent and concise explanations on pp. 511–513 and p. 517. Students should be adding to their notes on the characteristics of different styles of architecture. DECIPHERING CHRISTIAN SYMBOLISM New images of Christian iconography appear in Romanesque art. Gislebertus's LAST JUDGEMENT, from Autun (p. 520) is a good example of the evolving body of Christian symbolism. REGIONAL DIFFERENCES The stylistic differences between cathedrals in France and in Italy need to be understood and recognized by students. This regionalization will become even more pronounced during the Gothic period, as students will see in the next chapter. Students should add the characteristics of different cathedral styles to their notes on architectural innovations.
  • 4. ROMANESQUE ART The Bayeux Tapestry The Bayeux Tapestry was probably commissioned in the 1070s by Bishop Odo of Bayeux, half-brother of William the Conqueror. It is over 70 metres long and although it is called a tapestry it is in fact an embroidery, stitched not woven in woollen yarns on linen. Some historians argue that it was embroidered in Kent, England. The original tapestry is on display at Bayeux in Normandy, France. This is one of the first recordings of an historical event shortly after it happened.
  • 5. ROMANESQUE ART Bayeux Tapestry, c1066-1082. NORMAN or ROMANESQUE
  • 6. ROMANESQUE ART ISTI MIRANT STELLA = “These ones look at the star.”
  • 7. ROMANESQUE ARCHITECTURE IN FRANCE
  • 8. ROMANESQUE ART 11 important aspects of Romanesque architecture 1.“Romanesque” is the first international style since the Roman Empire. Also known as the “Norman” style in England 2.Competition among cities for the largest churches, which continues in the Gothic period via a “quest for height.” 3.Masonry (stone) the preferred medium. Craft of concrete essentially lost in this period. Rejection of wooden structures or structural elements. 4. East end of church the focus for liturgical services. West end for the entrance to church.
  • 9. ROMANESQUE ART 5.Church portals as “billboards” for scripture or elements of faith. 6.Cruciform plans. Nave and transept at right angles to one another. Church as a metaphor for heaven. 7. Elevation of churches based on basilican forms, but with the nave higher than the side aisles.
  • 10. ROMANESQUE ART 8. Interiors articulated by repetitive series of moldings. Heavy masonry forms seem lighter with applied decoration. 9. Bays divide the nave into compartments 10.Round-headed arches the norm. 11.Small windows in comparison to buildings to withstand weight
  • 11. ROMANESQUE ART Church of St. Etienne Caen, France 1115-1120 ROMANESQUE
  • 12. ROMANESQUE ART Aerial view (southeast) of Saint-Sernin, Toulouse, France ca 1070-1120 radiating chapels ambulatory transept upper galleries (tribunes) large nave
  • 13. Vaulted Ceilings Ribs Tribune / Gallery Clustered Piers Ambulatory
  • 14. ROMANESQUE ART This church was first constructed in the honor of the city’s first bishop, Saint Saturninus (Saint Sernin in French), who was martyred in the middle of the third century. This church served as an important stop for pilgrims traveling to Santiago de Compostela in northwestern Spain. Pilgrims would flock to this church by the masses, and the church had been designed specifically to accommodate them. The plan of this church closely resembles that of Santiago de Compostela’s and Saint Martin at Tours and exemplifies what has come to be called the “pilgrimage type”. Aerial view (southeast) of Saint-Sernin, Toulouse, France ca 1070-1120
  • 15. ROMANESQUE ART This is one of seven marble slabs, representing angels, apostles, and Christ, made for the great pilgrimage church of Saint-Sernin at Toulouse. An inscription on a marble altar, part of the goup, states that the reliefs date to the year 1096 and that the artist was a certain BERNARDUS GELDUNIUS. Christ sits in a mandorla (a medieval Christian artistic convention by which an oval or almondshaped area or series of lines surrounds a deity, most commonly Jesus.) his right hand raised in blessing, his left hand resting on an open book inscribed with the words “Pax vobis” (”peace be unto you”). The signs of the Four Evangelists occupy the slab’s corners. Above are the eagle of Saint John and the angel of Saint Matthew. Below are the ox of Saint Luke and the lion of Saint Mark. Bernardus Geldunius, Christ in Majesty, Saint-Sernin, ca 1096.
  • 16. ROMANESQUE ART Most critics consider the abbey church of Saint-Étienne at Caen the masterpiece of Norman Romanesque architecture. It was begun by William of Normandy in 1067 and must have advanced rapidly, as he was buried there in 1087. The spires were added to the towers during the Gothic age in an attempt to bring the structure closer to the heavens. The use of these groin vaults gave the interior a more spacious feel, and allowed for the addition of large windowed arches in the third story. The result reduced the interior wall suface and gave Saint-Étienne’s nave a light and airy quality that is unusual in the Romanesque period. West facade of Saint-Étienne, Caen, France, begun 1067
  • 17. ROMANESQUE ART Most critics consider the abbey church of Saint-Étienne at Caen the masterpiece of Norman Romanesque architecture. It was begun by William of Normandy in 1067 and must have advanced rapidly, as he was buried there in 1087. The spires were added to the towers during the Gothic age in an attempt to bring the structure closer to the heavens. The use of these groin vaults gave the interior a more spacious feel, and allowed for the addition of large windowed arches in the third story. The result reduced the interior wall suface and gave Saint-Étienne’s nave a light and airy quality that is unusual in the Romanesque period. Interior of Saint-Étienne, Caen, France, ca 1115-1120
  • 18. ROMANESQUE ART This frieze, in southwestern France, announces the end of the human race (the Last Judgment) This church was an important stop along the pilgrimage route to Santiago de Campostela. The monks, enriched by the gifts of pilgrims and noble benefactors, adorned their church and its cloister, with one of the most extensive series of sculptures of the Romanesque age. cloister: a special place for religious seclusion- used by monks Christ occupies the center of the composition and is again flanked by the symbols of the Four Evangelists. (Left) eagle, ox (Right) angel, lion Christ in Majesty, Saint- Pierre Moissac, France, ca 1115-1135
  • 19. ROMANESQUE ART To one side of each pair of signs is an attendant angel holding scrolls to record human deeds for judgment. The figures of crowned musicians, which complete the design, are the Twenty-Four Elders who accompany Christ as the kings of this world and make music in his praise Two courses of wavy lines symbolizing the clouds of Heaven divide the Elders into three tiers. Christ in Majesty, Saint- Pierre Moissac, France, ca 1115-1135
  • 20. ROMANESQUE ART Christ in Majesty, Saint- Pierre Moissac, France, ca 1115-1135
  • 21. ROMANESQUE ART Below the tympanum of Moissac are the richly decorated trumeau and elaborate door jambs with scalloped contours. The figure on this trumeau is debatable. Some scholars believe it to be Jeremiah, and others think it to be Isaiah. Whoever the prophet is, he diplays the scroll where his prophetic vision is written Lions and Old Testament Prophet (Jeremiah, Isaiah?) Moissac, France ca 1115-1130
  • 22. ROMANESQUE ART Gislebertus, Last Judgment (from Saint-Lazzare) Autun, France ca 1120-1135 This scene depicts the Judgment in progress, announced by four trumpetblowing angels. Once again, Christ sits enthroned in the center of the tympanum in a mandorla that angels support. He presides over the separation of the Blessed from the Damned. On the left, when facing the tympanum, an obliging angel boosts one of the Blessed into the heavenly city. Below, the souls of the dead are lined up to await their fate. On the left end of the lintel, two men carry bags with a cross and shell, symbolic of the pilgrims to Jerusalem and Santiago de Compostela. Those who had made the difficult journey would be judged favorably. To thier right of the two men are three small figures begging to an angel to intercede on their behalf. The angel responds by pointing to the Judge above. To Christ’s left, are all those condemned to Hell. One poor soul is plucked from the earth by giant hands. Angels and devils contest at the scales, each trying to manipulate the balance for or against a soul.
  • 23. ROMANESQUE ART Gislebertus, Last Judgment (from Saint-Lazzare) Autun, France ca 1120-1135 To Christ’s left, are all those condemned to Hell. One poor soul is plucked from the earth by giant hands! Angels and devils contest at the scales, each trying to manipulate the balance for or against a soul.
  • 24. The Blessed & The Damned
  • 25. ROMANESQUE ARCHITECTURE IN ITALY
  • 26. ROMANESQUE ART Cathedral Complex, Pisa, Italy cathedral begun 1063, baptistry begun 1153, campanile begun 1174 Save for the upper portion of the baptistry, with its remodeled Gothic exterior, the three structures are stylistically Romanesque. The construction of this cathedral in Pisa began in the same year as that of Saint Mark’s in Venice. The goal of the project was not only to create a monument to God, but also to bring credit to the city. The cathedral’s campanile, detached in the standard Italian fashion, is the famous “Leaning Tower of Pisa”. The tilted vertical axis is the result of a settling foundation. It began to “lean” even while under construction and now inclines some twenty-one feet out of plumb at the top. The “Leaning Tower” is highly complex in its rounded form, as its stages are marked by graceful arcaded galleries that repeat the cathedral’s facade motif and effectively relate the tower to its mother building.
  • 27. ROMANESQUE ART ITALIAN ROMANESQUE Italian provinces developed a great diversity of Romanesque architectural styles. Tuscan and Roman churches featured classical Corinthian capitals and acanthus borders, as well as colored marble in geometric patterns; open arcades, colonnades, and galleries; and facades with sculptures in relief. In southern Italy, a rich style combining Byzantine, Roman, Arabic, Lombard, and Norman elements was created, with lavish use of mosaic decorations and interlaced pointed-arch arcades. Pisa Baptistry, Pisa, Italy baptistry begun 1153
  • 28. Pisa Cathedral Complex – Pisa, Italy (begun in 1063) ROMANESQUE
  • 29. ROMANESQUE ART Florence is always associated with the Renaissance of the 15th and 16th centuries, but it was already an important independent city-state during the Romanesque era. This structure was dedicated to the patron San Giovanni (St. John) by Pope Nicholas III in 1059. Freestanding Italian baptistries such as this and the one at Pisa are unusual and reflect the great significance the Florentines and Pisans attached to baptisms. In plan, San Giovanni is a domed octagon, enwrapped on the exterior by a graceful arcade, three arches to a bay. It has three entrances, one each on the north, south and east sides. On the west side an oblong sanctuary replaced the original semicircular apse. Baptistry of San Giovanni, Florence, Italy, ca 1059
  • 30. ROMANESQUE ART Modena Cathedral Modena, Italy 1099-1110 ROMANESQUE
  • 31. ROMANESQUE ART Wiligelmo, Creation and Temptation of Adam and Eve, Modena Cathedral, Italy, 1110. ROMANESQUE
  • 32. ROMANESQUE ARCHITECTURE IN ENGLAND
  • 33. ROMANESQUE ART ENGLISH ROMANESQUE Before the 10th century, most English buildings were wood; stone buildings were small and roughly constructed. The Norman Romanesque style replaced the Saxon style in England after the Norman Conquest in 1066, and from about 1120 to 1200, builders erected monumental Norman structures, including numerous churches and cathedrals. The long, narrow buildings were constructed with heavy walls and piers, rectangular apses, double transepts, and deeply recessed portals. Naves were covered with flat roofs, later replaced by vaults, and side aisles were usually covered with groined vaults. Canterbury Cathedral Durham Cathedral
  • 34. ROMANESQUE ART Blues’ Guide to Understanding Romanesque Art Spans across many countries & styles Small Windows, thick stone walls Many Churches had Gothic spires added later Long Ribbed Vaults in the Nave Small piers used as buttresses Decorative Tympanums & Portals More side aisles and ambulatories to meet needs of pilgrimages (i.e. outside galleries) Addition of the separate Baptistry
  • 35. THE END