The Middle Ages
Medieval art in Europe grew out of the artistic heritage of the Roman Empire and the iconographic traditions of the Early Christian Church. In fact, the history of Medieval art can be seen as the result of the interaction between the elements of classical and early Christian tradition. As part of this Christian influence, the Italian art of the late Middle Ages tends to stress the Incarnation narrative and the sequence of events surrounding Christ's life. For example, the popularity of the Virgin Mary (referred as Madonna in most of Europe) in art and religion increases tremendously as she represents an important figure in the life of Christ and, therefore, in Early Christianity. (Abbe 1)
The art pieces in this section focus on this religious aspect of the Late Medieval tradition. The following works vary in degrees of naturalism as in the late Medieval period some artists portray more on this idea while others do not. These pieces also implement the hieratic style, meaning its primary purpose is to convey religious meaning rather than accurately render objects and people. Therefore, one could say that the size of the figures are directly related to their importance of the message.
This gallery portrays this perspective principle in the following pieces, every work includes Christ and/or the Virgin Mary as the largest figures in their respective manners. In a historical context, the attributed artist of such technique is the Florentine Giotto di Bondone (1266/76–1337), one of the masters during this period that changed the course of painting . Giotto's figures are volumetric rather than linear, and the emotions expressed are varied and convincingly human rather than stylized. Also is important to notice one of the shifts in the central focus of Medieval art. For example, in The Temptation of Christ the center of the illumination or the largest figure is not Christ but the wealth of the world. This reflects the change of priority in the theme of medieval art from a religious viewpoint to a more secular and material based portrayal. Lastly, another characteristic of Medieval art is the emphasis placed on the linear perspective and creating three dimensional images on a two dimensional surface. With the proliferation of these new elements and style, the late Medieval art opens the door for the new styles and techniques also found later in the early Renaissance.
The art pieces in this section focus on this religious aspect of the Late Medieval tradition. The following works vary in degrees of naturalism as in the late Medieval period some artists portray more on this idea while others do not. These pieces also implement the hieratic style, meaning its primary purpose is to convey religious meaning rather than accurately render objects and people. Therefore, one could say that the size of the figures are directly related to their importance of the message.
This gallery portrays this perspective principle in the following pieces, every work includes Christ and/or the Virgin Mary as the largest figures in their respective manners. In a historical context, the attributed artist of such technique is the Florentine Giotto di Bondone (1266/76–1337), one of the masters during this period that changed the course of painting . Giotto's figures are volumetric rather than linear, and the emotions expressed are varied and convincingly human rather than stylized. Also is important to notice one of the shifts in the central focus of Medieval art. For example, in The Temptation of Christ the center of the illumination or the largest figure is not Christ but the wealth of the world. This reflects the change of priority in the theme of medieval art from a religious viewpoint to a more secular and material based portrayal. Lastly, another characteristic of Medieval art is the emphasis placed on the linear perspective and creating three dimensional images on a two dimensional surface. With the proliferation of these new elements and style, the late Medieval art opens the door for the new styles and techniques also found later in the early Renaissance.
The Temptation of Christ
Author: Limbourg Brothers Year: 1415 Medium: illumination on parchment Dimensions: 6 ¾ in x 4 ½” in Location: Les Tres Riches Heures du Duc du Berry |
Madonna Enthroned with Angels and Saints
Author: Giotto
Year: 1310 Medium: Tempera & gold on wood Dimensions: 10’8” in x 6’8 ¼” in Location: Church of the Ognissanti, Florence, Italy |
Three Towers Reliquary
Author: Unknown Year: 1370-1390 Medium: Chased and gilded silver enamel and gems Height: 14 in Location: Cathedral Treasury, Aachen, Germany |
Virgin and Child
Author: Unknown Year: 1339 Medium: Gilded silver, enamel, and stones Height: 26 in Location: Louvre Museum, Paris |