The document discusses the Romanesque era of art, highlighting its characteristics, influences from Byzantine painting, and notable fresco techniques. It details specific works, such as Christ in Majesty, and reviews variations in style and composition across different churches. Preservation methods for fresco paintings are also outlined, emphasizing the challenges involved in maintaining these historical artworks.

1. (The Age Of Pilgrimages)
By: Neha Kestwal
M.DES (1st Semester)
Visual and Design Culture Wall panting from Church - S. Angelo in Formis

2. History
• Romanesque Era – 11th – 12th Century.
•Travelled from Holy Empire Rome to
Italy, France, Germany, Spain and England.
• Era where Christianity flourished.

3. Influenced
Romanesque Painting
Byzantine Painting
Roman Sculpture
Gothic Painting

4. Characteristics
Murder of Innocent in Bethlehem
Author : artist from southern France
Date :c. 1180
Technique :Fresco
Type :religious
Form :painting
Location :The Panteón de los Re 'es of San Isidoro in
Leon
Source : E- Book “Romanesque – Architecture,
Sculpture, Painting (Art Book)”, Edited by Rolf
Toman; pp. 391
•Wall Painting using technique Frescoes, Secco and
Tempera.
•Flat Drawing.
•Lack Perspective.
• Elongated Body Parts.
•Use of Black color to outline figure.
• Religious, Bring out message of stories of old
And new Testaments.
• Hierarchy shown by gradual decrease in sizes.
•Eyes are wide open.
•According to areas under Romanesque there is little change
in paintings.
•Uses Bright and intense Colors (Red, Yellow, Orange, Blue)

5. Visual Representation of Image
Expression less face; but
eyes are wide open.
Providing feeling of strict
religious sprituality.
Religious
sentiments shown
by gestural
representation.
Like in Byzantine
era pictures are
enclosed inside a
frame.

6. Variation in Romanesque Painting
Three “Christs in Majesty” provide examples:
Church- Sant'Angelo in Formis (around 1080),
Church -San Clemente in Tahull (around 1123), and
Church -Berze-la-Ville (around 1120).

7. Christ in Majesty
• Follow east-Roman pictorial system.
• No depictions of a majesty with the
Evangelists‘ symbols are known in
Constantinople.
• artist integrated north Carolingian and
Roman/early Christian pictorial conceptions in
order to create his Christ in Majesty.
•Byzantine Style.
Author : Abbot Desiderius of Montecassino
Date :c. 1120
Technique :Fresco
Type :religious
Form :painting
Location :Sant'Angelo in Formis
Source : : E- Book “Romanesque – Architecture,
Sculpture, Painting (Art Book)”, Edited by Rolf Toman;
pp. 409

8. Christ in Majesty
• The face of God in Sant’ Angelo in Formis
turns into a mask in Tahull.
• Sant’ Angelo is depicted in a
softer and more animated style; and appears
harder and more rigid in Tahull. (Influence of
M0zarabic style)
Date :c 1123
Technique :Fresco
Type :religious
Form :painting
Location :Apse of San Clemente Tahull
Current Location : Barcelona, Museo de Arte de
Cataluna
Source : : E- Book “Romanesque – Architecture,
Sculpture, Painting (Art Book)”, Edited by Rolf Toman;
pp. 409

9. Christ in Majesty
• faced with soft, flowing lines
and a sublime use of color.
• strict formalism which was derived
from the Byzantine monumental
style.
• Change in Gown, the dense folds of
which wind Themselves along the
various parts of the bodies.
Date :c. 11 Century
Technique :Fresco
Type :religious
Form :painting
Location :Bern-la-Ville
Source : : E- Book “Romanesque – Architecture,
Sculpture, Painting (Art Book)”, Edited by Rolf Toman;
pp. 409

10. GROUP COMPOSITION
Two basic types can be distinguished, the additive and the integrative principle.
Additive principle: The figures are placed next to one another without significant
overlapping.
Integrative principle: The figures are arranged both side by side and behind one
another, resulting overlaps are very conspicuous and are supposed to suggest a feeling of
spatial depth. But such group compositions often appear like a flat piling-up of bodies
without conveying any spatial connection.

11. Additive Integrative
Decoration Church of Sant Angelo DI Formis
Date :c. 1123
Technique :Fresco
Type :religious
Form :painting
Location :Italy
Author : CATALAN ROMANESQUE PAINTER
Date :c. 1123
Technique :Fresco
Type :religious
Form :painting
Location :Museu Nacional d'Art de Catalunya, Barcelona
Source : http://www.lib-art.com/artgallery/37444-the-madonna-enthroned-
romanesque-painter-catalan.html

12. Four Apostles
Date :c. 12th century
Technique :Fresco
Type :religious
Form :painting
Location : S. Clemente, Rome
Source :Book- The history of Art Architecture
Painting Sculpture; Author - Hamlyn

13. Preservation of Fresco Painting
Protection and Support Bandage applied
(cotton gauze and polyvinyl alcohol)
Difficult Section Removed
(soft brushes and localized
vacuuming)
Easier Section Removed
(with a paper pulp compress
saturated with bicarbonate of
ammonia solutions and
removed with de-ionized water)
Removed sections are strengthened with barium hydrate
cracks and detachments are stopped with lime putty and injected with
an epoxy resin loaded with micronized silica

14. References
E- Book “Romanesque – Architecture, Sculpture, Painting (Art Book)”, Edited by Rolf
Toman
www.britannica.com/EBchecked/topic/508431/Romanesque-art
www.metmuseum.org/toah/hd/rmsq/hd_rmsq.htm
Book – “A world of Art”; Author – Hugh Honour & John Fleming (7th Edition: 709
Reference: 8512)
Book – “The History of Art Architecture Painting Sculpture”; Author – Hamlyn (700.9
MYE, Reference: 227)

15. Thank you