EARLY MEDIEVAL ART

    CAROLINGIAN

Artist name : Odo of Metz,

Artwork name: Carolingian

Location : France, Germany, Austria, northern Italy and the Low Countries,

Charlemagne, King of the Franks and later Holy Roman Emperor, instigated a cultural revival known as the Carolingian Renaissance. This revival used Constantine's Christian empire as its model, which flourished between 306 and 337. Constantine was the first Roman emperor to convert to Christianity and left behind an impressive legacy of military strength and artistic patronage.

Charlemagne saw himself as the new Constantine and instigated this revival by writing his Admonitio generalis (789) and Epistola de litteris colendis (c.794-797). In the Admonitio generalis, Charlemagne legislates church reform, which he believes will make his subjects more moral and in the Epistola de litteris colendis, a letter to Abbot Baugulf of Fulda, he outlines his intentions for cultural reform.

Most importantly, he invited the greatest scholars from all over Europe to come to court and give advice for his renewal of politics, church, art and literature.

Figurative art from this period is easy to recognize. Unlike the flat, two-dimensional work of Early Christian and Early Byzantine artists, Carolingian artists sought to restore the third dimension. They used classical drawings as their models and tried to create more convincing illusions of space

This development is evident in tracing author portraits in illuminated manuscripts. The Godescalc Gospel Lectionary, commisioned by Charlemagne and his wife Hildegard, was made circa 781-83 during his reign as King of the Franks and before the beginning of the Carolingian Renaissance. 

In the portrait of St. Mark, the artist employs typical Early Byzantine artistic conventions. The face is heavily modeled in brown, the drapery folds fall in stylized patterns and there is little or no shading.

Characteristics

•  The seated position of the evangelist would be difficult to reproduce in real life, as there are spatial inconsistencies. The left leg is shown in profile and the other leg is show straight on. This author portrait is typical of its time.

The figure show ,the Ebbo Gospels were made c. 816-35 in the Benedictine Abbey of Hautvillers for Ebbo, Archbishop of Rheims.  The author portrait of St. Mark is characteristic of Carolingian art and the Carolingian Renaissance. The artist used distinctive frenzied lines to create the illusion of the evangelist's body shape and position. 

    

• The Characteristics the Ebbo gospels show footstool sits at an awkward unrealistic angle, but there are numerous attempts by the artist to show the body as a three-dimensional object in space. 

• The right leg is tucked under the chair and the artist tries to show his viewer, through the use of curved lines and shading, that the leg has form. There is shading and consistency of perspective. The evangelist sitting on the chair strikes a believable pose.

The Artwork show Charlemagne, like Constantine before him, left behind an almost mythiclegacy. The Carolingian Renaissance marked the last great effort to revive classical culture before the Late Middle Ages.  Charlemagne's empire was led by his successors until the late ninth century. In early tenth century, the Ottonians rose to power and espoused different artistic ideals.

References 

Dr. Nancy Ross, "Carolingian art, an introduction," in Smarthistory, August 8, 2015, accessed December 29, 2017, https://smarthistory.org/carolingian-art-an-introduction/.

The Editors of Encyclopædia Britannica , Carolingian art . Encyclopædia Britannica ; February 03, 2017. https://www.britannica.com/art/Carolingian-art.

Beckwith, John. Early Medieval Art: Carolingian, Ottonian, Romanesque, Thames & Hudson, 1964. https://en.wikipedia.org/wiki/Carolingian_art.

MALDIEVAL ART

MADONNA

Artist Name : Raphael

Artwork Name : Madonna

Location : National Gallery of Art, Washington, D.C.

The artwork show , Madonna, in Christian art, depiction of the Virgin Mary; the term is usually restricted to those representations that are devotional rather than narrative and that show her in a non historical context and emphasize later doctrinal or sentimental significance. The Madonna is accompanied most often by the infant Christ, but there are several important types that show her alone.

The theme of the Madonna and Child was rare in the first centuries of early Christian art 
(c3rd–6th century).  However, the establishment of Mary’s title of Theotokos (“Mother of God”) definitively affirmed the full deity of Christ. Thereafter, to emphasize this concept, an enthroned Madonna and Child were given a prominent place in monumental church decoration

Byzantine art developed a great number of Madonna types

•  All are illustrated on icons, and one or another type was usually pictured prominently on the eastern wall of Byzantine churches below the image of Christ; the location dramatized her role as mediator between Christ and the congregation. 

• The major types of the Madonna in Byzantine art are the nikopoia (“bringer of victory”), an extremely regal image of the Madonna and Child enthroned; the hodēgētria (“she who points the way”), showing a standing Virgin holding the Child on her left arm; and the blacherniotissa (from the Church of the Blachernes, which contains the icon that is its prototype), which emphasizes her role as intercessor, showing her alone in an Grant, or prayer posture, with the Child pictured in a medallion on her breast.

Madonna types are the Italian sacra conversation, depicting a formal grouping of saints around the Madonna and Child, and the northern themes of the Madonna of the rose garden, which symbolizes Mary’s virginity, and the seven sorrows of Mary, showing seven swords piercing the Virgin’s heart.

Three major Madonna types showing the Virgin alone have theological significance. As the

Madonna of mercy, which flourished in the 15th century, the Virgin spreads her mantle protectively over a group of the faithful.

In year  17th century emphasized her Immaculate Conception, or perpetual freedom from original sin, shows her as a young girl descending from the heavens, supported by a crescent moon and crowned by stars, and  did most religious art, the theme of the Madonna suffered a decline in the major arts after

The Representations of the Madonna and Child, however, continued to be important in popular art into the 20th century, most following 16th- and 17th-century models.



References 

The Editors of Encyclopædia Britannica , Madonna . Encyclopædia Britannica ;June 19, 2015

https://www.britannica.com/topic/Madonna-religious-art.

Christensen, Carol. "Examination and Treatment of Paintings by Raphael at the National Gallery of Art." Studies in the History of Art 17 (1986): 47–54. https://en.wikipedia.org/wiki/Madonna_(art)