Medieval Art (part 1)

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felara9614
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173796
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Medieval Art (part 1)
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2012-09-30 11:22:35
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Medieval Art (part 1)
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    • Merovingian Looped Fibula 
    • Era: Migration, mid 6th century
    • Location: Jouy-le-Comte, France
    • Techniques:
    • silver gilt in filigree with inlays of garnets and other stones
    • larger than most fibulas
    • prestige ornaments
    • typically made of bronze silver or gold
    • worn by both men and women
    • found buried with women
    • fastened clothing
    • covered with decorative patterns curved to fit its shape
    • organic quality
    • zoomorphic forms, almost abstract, not easy to find
    • stylized eagles' heads with red garnets as eyes
    • Purse Cover from Sutton Hoo
    • Era: Migration, 655 
    • Location: Suffolk, England
    • Techniques:
    • made of gold, glass, and enamel cloisonne
    • inlaid garnets and emerald
    • abstract designs and zoomorphic forms
    • 4 symmetrical groupings on bottom
    •    - end groupings - man between two beast, frontal man, beasts in profile
    •       - themes ~ man-beast from ancient world; royalty, heraldry, protection of man by the animals theme; battle between man and animal
    •    - center grouping - eagles attacking ducks - complexity of lines - one single abstract design
    •       - balance of positive and negative space
    •       - convex beaks of eagels fit into concave beaks of the ducks
    • 3 geometric designs on top
    •     - basic shapes with geometric patterns
    •    - interlace pattern - animals that twist into each other - uncommon outside early medieval
    • imitated the painted manuscripts and stone sculptures
    • closing element to a fabric pouch
    • 7"
    • Animal Head Post from the Oseberg Ship Burial
    • Era: Migration, 825
    • Techniques:
    • made of wood
    • graceful curving lines
    • expressed a certain dynamic energy
    • dense design pushed to surface
    • controlled and symmetrically patterned
    • interwoven animals that writhe and snap at each other in a serpentine fashion
    • large bulging eyes, flared nostrils and bared teeth to ward off evil spirits
    • ribbon-like
    • 5" tall
    • Prow of Oseberg Ship Burial
    • Era: Migration, early 9th century
    • Techniques:
    • interlaced design
    • accentuates curvilinear quality of ship
    • energy-filled organic design
    • carved bands described as graceful
    • Wooden Portal of the Stave Chruch
    • Era: Migration, 1050-1070
    • Locaiton: Urnes, Norway
    • Techniques:
    • staves - wedge shaped timbers that were placed on the doorway vertically
    • interlaced patterns in staves
    • gracefully elongated animal forms intertwining with plant stalks and growing up the building
    • gives it rhythm and energy
    • abstract in style but resembles natural growth
    • Man (Symbol of St. Mathew) of the Book of Durrow
    • Era: Hiberno-Saxon, 660-680
    • Location: Iona, Scotland
    • Techniques:
    • ink and tempera on parchment - thinner paper helped to illuminate the color
    • devoted to embellishment not text or illustration
    • nicknamed "carpet pages" because they resemble textiles
    • abstract and zoomorphic forms
    • framed by an elaborate interlaced border
    • intertwined animals
    • Mathew
    •    - frontal head but two profile feet
    •    - enveloped by a yellow, red and green checkerboard cloak
    •    - outline with dark brown or black
    •    - prominent frame for figure
    •    - resemble cloisonne technique
    •    - stylized manner
    • Ornamentation Page (Cross and Carpet Page) of the Lindisfarne Gospels
    • Era: Hiberno-Saxon, 698-721
    • Location: Northumberland, England
    • Techniques:
    • made of tempera on vellum
    • weds Christian imagery and the animal interlaced style
    • more intricate and compact than Book of Durrow
    • elaborate crucifix in center with vegetation - stabliizes energy and rhythm of the rest of the piece - anchors it
    • negative space filled with serpentine zoomorphic forms
    • vibrating energy created through knots, clusters, and maze like appearance
    • contrast of colors - cool colors in negative, cross is warm - smooth surface, harmony
    • lots of reptitiion and symmetry
    • 13"x10"
    • St. Mathew, Lindisfarne Gospels
    • Era: Hiberno-Saxon, 698-721
    • Location: Noruthumberland, Norway
    • Techniques:
    • tempera on vellum
    • Classical influence in figure
    • Mediterranean manuscript illumination tradition
    • curtain denotes the scene as an indoor study
    • shown with his symbol, it functions as his muse
    • flattened space, not one point perspective
    • feet are toe to heel
    • used two different colors to create folds of drapery, not natural
    • focus on line and color
    • sharp, regularly space folds in drapery
    • Moses holding a closed book of Old Testament, juxtaposition to the New Testament being written by Mathew
    • Moses is disembodied
    • Chi-Rho-Iota (Incarnation) Page, Book of Kells
    • Era: Hiberno-Saxon, late 8th or early 9th century
    • Location: Iona, Scotland
    • Techniques:
    • tempera on vellum
    • Greek letters are an abbreviation for Christ
    • entire page begins the account of Christ's birth
    • letter H means generation
    • letters dominate the page
    • looks like a metal cloisonne broach
    • both animal and human forms
    • out of the letter chi there are rivers flowing that symbolize the birth of Christ
    • out of the rho is a red headed figure, he is Christ, part of the world from whom flow the rivers of Hell
    • left edge of chi are three angels that syblolize heaven and air
    • below angels are tumbling cats and mice - allude to animal combat motif - Christ was born into a world of strife
    • Scribe Ezra Rewriting the Sacred Records
    • Era: Transitional from Hiberno-Saxon to Carolingian, early 8th century
    • Location: Codex Amiatinus, Jarrow
    • Techniques:
    • illusionistic fashion
    • flatness to image
    • seated in profile but both feet are visible, toe to heel
    • arm and leg coming through garment - light and shadow
    • rounded figure - sense of solidity to the body
    • skewed perspective
    • St. Mathew, Coronation Gospels of Charlemagne
    • Era: Carolingian, 800-810
    • Techniques:
    • ink and tempera on vellum
    • gold lettering on purple vellum
    • masses of drapery that cover the body
    • illusionistic brushwork
    • picture frame goes back to 4th style
    • acanthus leaves used in decoration in lecturn and in frame
    • landscape is Classical, calm, and solid
    • one foot on podium - more natural
    • St. Mathew, Ebbo Gospels
    • Era: Carolingian, 816-835
    • Location: Hautvilliers, France
    • Techniques:
    • ink and tempera on vellum
    • sense of body contour under drapery - drapery clings to leg - folds show roundness of legs
    • torso is lost in folds - done with illusionistic brushwork
    • frenzied brush strokes
    • slanted eyes, tilted furniture, chaos of drapery and horizon, plants, and frame are all energetic - expressionistic
    • Classical illusionism is in the foreground, middle ground, and background
    • Classical architecture
    • focus of entire piece is on the completion of the book
    • Crucifixion, Lindau Gospels
    • Era: Carolingian, 870
    • Location: Sant Gall, Switzerland
    • Techniques:
    • made with gold, pearls, precious and semi-precious stones
    • cover of gospels
    • youthful Christ in the early Christian tradition nailed to cross
    • cross is surrounded by pearls and jewels
    • gold catches the light to see the modeling
    • repousse technique
    • looks like cloissonne but its not
    • less suffering Christ
    • statuesque figure, Classical tradition
    • four angels around him, personification of the moon and the sun, crouching figures of the virgin Mary and St. John and two uncertain figures - all of them have nervous energy to contrast the balanced, calm figure of Christ
    • Christ in Majesty with Four Evangelists and Scenes from the Life of Christ
    • Era: Carolingian, 870
    • Location: Codex Aureus of St. Emmeram
    • Techniques:
    • gold set with perals and precious stones
    • front cover
    • inlaid stones and repousse technique
    • jeweled cross
    • Christ is enthroned in center of the cross, not crucified
    • folds are drawn on, stylized
    • protruding belly - trying to give body volume
    • surrounded by scene from the life of Christ, four evangelist in human form as seated scribes

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