|
The Age of Pilgrims and Crusaders: Romanesque Art ROMANESQUE EUROPE PAINTING Mural Painting Painting in Christian Spain: In the apse fresco from Santa Marķa de Mur, the figures are posed in formal frontality. Drapery is partitioned into volumes arranged in irregular geometric patterns. 17-32 Christ in Majesty, apse fresco from Santa Marķa de Mur, near Lérida, Spain, mid-12th century. 22' X 24'. Museum of Fine Arts, Boston. Italian Murals and Byzantine Models: The fresco above the nave arcade at Sant'Angelo in Formis shows fully modeled figures, a three-dimensional architectural setting, and a natural blue sky. 17-33 Entombment of Christ, fresco above the nave arcade, Sant'Angelo in Formis, near Capua, Italy, ca. 1085. The Old Testament on a Barrel Vault: The paintings in the vault of the nave of Saint-Savin-sur-Gartempe show elongated, agitated cross-legged figures. 17-34 Nave of the abbey church, Saint-Savin-sur-Gartempe, France. Painted barrel vault, ca. 1100. Manuscript Illumination The Apocalypse on Two Painted Folios: A double-page illumination painted in intense and vivid color shows agile figures. The seated figures are seen from a "bird's eye perspective" with realistic touches such as overlapping. 17-35 STEPHANUS GARSIA, enthroned Christ with signs of the Four Evangelists and the Twenty-Four Elders, folios 121 verso and 122 recto of the Apocalypse of Saint-Sever, from Saint-Sever-sur-l'Adour, France, ca. 1050–1070. Ink and tempera on vellum, approx. 14 1/2" X 22". Bibliothèque Nationale, Paris. The Divine Visions of a German Nun: A facsimile of a lost folio shows Hildegard of Bingen's vision. 17-36 The vision of Hildegard of Bingen, facsimile of a lost folio in the Scivias by Hildegard of Bingen, from Trier or Bingen, Germany, ca. 1050–1079. Formerly in Hessische Landesbibliothek, Wiesbaden. A Knight Battles Dragons: An example of Cistercian illumination shows a colorful letter R in the form of two figures battling a dragon. The banding of the torso and partitioning of the folds are typical of the Romanesque style. 17-37 Initial R with knight fighting a dragon, from the Moralia in Job, from Citeaux, France, ca. 1115–1125. Ink and tempera on vellum, 13 3/4" X 9 1/4". Bibliothèque Municipale, Dijon. Moses in an English Bible: Folio 94 recto of the Bury Bible is an example of sumptuous illustration with dignified figures painted in softly glowing harmonized colours. 17-38 MASTER HUGO, Moses expounding the Law, folio 94 recto of the Bury Bible, from Bury Saint Edmunds, England, ca. 1135. Ink and tempera on vellum, approx. 20" X 14". Corpus Christi College, Cambridge. The "Prince of Scribes": The self-portrait of Eadwine the Scribe shows softly modeled drapery that follows the movements of the body underneath it. 17-39 EADWINE THE SCRIBE(?), Eadwine the scribe at work, folio 283 verso of the Eadwine Psalter, ca. 1160–1170. Ink and tempera on vellum. Trinity College, Cambridge. The Conquest of England: The Bayeux Tapestry, which recalls the historical narratives of ancient Roman art, shows the linear patterning and flat colour of the Romanesque style. 17-40 Funeral procession to Westminster Abbey and the Battle of Hastings, details of the Bayeux Tapestry, from Bayeux Cathedral, Bayeux, France, ca. 1070–1080. Embrodered wool on linen, 20" high (entire length of fabric 229' 8"). Centre Guillaume le Conquérant, Bayeux. ROMANESQUE EUROPE |