The document discusses the key characteristics and features of Romanesque architecture from the 11th-13th centuries in Europe. Romanesque architecture is characterized by austerity, simplicity, solidity with thick stone walls and small windows to make structures very durable. Barrel vaults and round arches were commonly used. Sculpture was primarily found on portals and served to spread religious messages to illiterate populations through simple, colorful carvings and frescoes that lacked realistic perspective. Mudéjar style, using Islamic geometric brickwork, was also incorporated in Spain.

1. THE ROMANESQUE

2.  Historical Context
 Architecture.
 The Mudéjar style.
 Sculpture and Painting.
Juan A. L. Luque

3.  Europe XI – XIII Centuries
 FEUDALISM
 It’s called Romanesque because of the use of Ancient
Roman’s technical solutions (arc, vaux,…)
 It’s basically a RELIGIOUS art.

4. HISTORY

6. SANT JAMES’ WAY

7. MONASTERY OF CLUNY

8. ROMANESQUE ARCHITECTURE
 CARACHTERISTIQUES

9. ROMANESQUE ARCHITECTURE
 AUSTERITY very few ornaments
 SIMPLICITY simple forms
 SOLIDITY very thick walls

10. MADE TO LAST FOR EVER
 STONE
 STONE is heavy…
 Thick walls

11. WALLS
 Thick WALLS
 Regular ASHLARS it looks SOLID
 SMALL windows

12. WALLS

13. ROUND ARCH

14. BARREL VAULT
 In the beggining wooden roofs

15. BARREL VAULT

17.  PILLARS between NAVES

18. BUTTRESSES

20. ROMANESQUE FLOOR PLAN

21. ROMANESQUE FLOOR PLAN

24. ROMANESQUE PORTAL
 Pedagogical
 Here is where the SCULPTURE is

25. ROMANESQUE PORTAL

26. EL MUDÉJAR
 Mudajjan ‫مدجن‬meaning "domesticated", in a reference to ,
the Muslims who submitted to the rule of the Christian kings
 In erecting Romanesque buildings (Gothic and Renaissance
too), builders used elements of Islamic art
 Use of BRICKS in a geometrical character
 Only in Spain

27. EL MUDÉJAR

28. EL MUDÉJAR

29. EL MUDÉJAR

30. ROMANESQUE
SCULPTURE
&
PAINTING

31. PEDAGOGIC

33.  PEOPLE WERE ILITERATE
 Church used them to spread the Gospel

35. Polichrom carvings

38. Technicaly very simples. Message was the important
matter, not perspective or realism

39. FRESCOE

40. Thick lines
No depth
No paint volume