Introduction As we move further into a digital age, the vehicle that we use to convey narrative is constantly changing. Similar stories re-occur again, and again, with an aim to comment on humanity, morally guide, and control us. From the very first cave paintings of prehistoric humans, to Roman vases, to Hollywood blockbusters, to our Facebook timelines, narrative has given meaning to our existence and helps us understand and undertake our lives in the best way. In 14th century tapestry, narrative’s role feels more relevant to me as an image maker than narrative in modern day. To understand narratives power and influence i will explore tapestry in the 14th century as i feel that it embodies so many similarities with the way I use narrative in my current practice. If i can understand how narrative was used as a vehicle for religious and political views in the 14th century, i can better formulate my own narratives more cohesively and convey my messages more clearly. …show more content…
Whilst the history of the creation of these masterpieces is fascinating, i have very little interest in tapestry as a process, or the surface as an aesthetic and i have little patience for weaving. It is the composition and subjects of the images that seduces me. Tapestry conveys a narrative within one image, a similar method of construction to that of my own practice, ‘a juxtaposition of separate images into one work’ Through exploring the different aspects of 14th century tapestry, focusing on imagery, symbolism and composition, i strive to explore it to a level where it can directly enrich my work. The naivety of the pre-renaissance composition suits its decorative nature. The amusing if not comical details and heavy symbolism add a theatrical light heartedness that paintings from the same era don't pocess. This along with their heavy decoration hides more sinister messages, something which i strive to
In the Florence and the early renaissance, we have the greatest master of art like Leonardo da Vinci, Michelangelo, Sandro Botticelli and others. In this period of time the painters almost never show their emotions or feelings, they were more focused on indulging the churches and the wealthy people. In The renaissance period the art provides the work of art with ideal, intangible qualities, giving it a beauty and significance greater and more permanent than that actually found in the modern art. Florence and the early renaissance, the art become very valued where every artist was trying to create art forms consistent with the appearance of the beauty or elegance in a natural perspective. However, Renaissance art seems to focus more on the human as an individual, while Wayne White art takes a broader picture with no humans whatsoever; Wayne, modern three dimensional arts often utilizes a style of painting more abstract than Renaissance art. At this point in the semester these two aspects of abstract painting and the early renaissance artwork have significant roles in the paintings. Wayne White brings unrealistic concepts that provoke a new theme of art, but nevertheless the artistic creations of the piece of art during early renaissance still represent the highest of attainment in the history of
The Renaissance Period is widely known for the abundance of amazing portraiture that circulated around Europe. During the Renaissance, Albrecht Dürer, a German artist painted a self-portrait in 1500 that had qualities that differed from the usual style of artist in that time (Chauhan). Jean Clouet also painted a portrait for the King of France and became the official court painter. Both artists had a talent for portraiture, while their styles were quite different. King Francis I wanted to be seen as a powerful man, and appointed Clouet to paint him in a classically renaissance way that highlights his wealth and authority. Dürer, described as a cocky, self-centered man, painted himself in a light that is unique and puts him on a ‘holy’ pedestal (Stokstad 356). In this essay I will show how although both paintings have clear differences with their style, both men in the compositions are conveyed in a great and very powerful sense.
By most accounts, the year 1500 was in the midst of the height of the Italian Renaissance. In that year, Flemmish artist Jean Hey, known as the “Master of Moulins,” painted “The Annunciation” to adorn a section of an alter piece for his royal French patrons. The painting tells the story of the angel Gabriel’s visit to the Virgin Mary to deliver the news that she will give birth to the son of God. As the story goes, Mary, an unwed woman, was initially terrified about the prospects of pregnancy, but eventually accepts her fate as God’s servant. “The Annunciation” is an oil painting on a modest canvas, three feet tall and half as wide. The setting of the painting is a study, Mary sitting at a desk in the bottom right hand corner reading, and the angel Gabriel behind her holding a golden scepter, perhaps floating and slightly off the canvas’s center to the left. Both figures are making distinct hand gestures, and a single white dove, in a glowing sphere of gold, floats directly above Mary’s head. The rest of the study is artistic but uncluttered: a tiled floor, a bed with red sheets, and Italian-style architecture. “The Annunciation” was painted at a momentous time, at what is now considered the end of the Early Renaissance (the majority of the 15th Century) and the beginning of the High Renaissance (roughly, 1495 – 1520). Because of its appropriate placement in the Renaissance’s timeline and its distinctly High Renaissance characteristics, Jean Hey’s “Annunciation” represents the culmination of the transition from the trial-and-error process of the Early Renaissance, to the technical perfection that embodied the High Renaissance. Specifically, “Annunciation” demonstrates technical advancements in the portrayal of the huma...
The Bayeux tapestry was a source used for storytelling. Specifically it shows the events leading up to and, the final result William duke of Normandy’s conquering of England. When looking at the scenes of the tapestry many ideas of what is being represented can be made even without prior knowledge. While a scene is easily known it is more difficult to differentiate individual characters or groups within each scene. For example, picking the scene shown on page 236 of Lucien Musset’s The Bayeux Tapestry this scene is a major part in William’s conquest of England. The scene clearly depicts the beginning of the battle of hastings fought between the Normans and the Anglo Saxons, but many viewers debate about what identifies each group. Based off
In the essay “Naturalism and the Venetian ‘Poesia’: Grafting, Metaphor, and Embodiment in Giorgione, Titian, and the Campagnolas,” Campbell explains the role of poetic painting, poesia, in Venetian artwork during the 1500s. Titian personally used the term poesia when he “[referred] to paintings he was making for [King Philip II] with subject matter derived from the ancient poets.” Poesia now refers to a type of sixteenth century Venetian painting, which Giorgione and Titian initiated and used within their works. Campbell’s main argument is that poesia is not simply aesthetic or reflective of poetry, but rather “grounded in the process of making – and in making meaning – rather than in an aesthetics of self-sufficiency or self-referentiality.” Like poetry, it is not self-contained; meaning lies outside of the work, within the interpretations of the viewers. He discusses the idea of grafting in poetry and how the same grafting model is utilized in the visual arts. Different images, such as pagan figures and contemporary figures and settings, are juxtaposed to create visual discordance and give an intrinsic meaning to the viewer. Campbell then uses many examples of writing, poetry, engravings, and paintings to explore his argument and the connections between artists during the 1500s.
One could look at the Bayeux Tapestry and infer its events, but only a fellow artist knows to look for a larger image. Researching and observing other perspectives on this topic has allowed me to conclude that we may debate over certain topics in history, but we will never know the true motive or events that took place. For example, we will never unmask the true creator of this complicated artifact and we also cannot confirm that Harold’s death was caused by an arrow to the eye during the chaotic battle which was depicted in the tapestry. The evidence that is available to us has survived by chance or because it is valued and kept for all sorts of reasons. Because this astonishing artifact survived a very long time, it must have been important! A lot of history’s original information can be left behind and people often misinterpret some of the information that is available. Finding reliable sources can be problematic! In terms of a reliable source, the artifact may be unfairly influenced because it seemed to be created from William’s perspective and was probably produced from someone who was not a part of the great battle. All in all, the Bayeux tapestry serves as a medieval artifact that doubles as art, chronicle, political information, and visual evidence of eleventh-century life, all at a great scale.
A: Tapestry is an ancient technique of weaving. The pattern is sections of colored weft threads beaten down onto warp threads. Tapestries were hung to show a person's wealth. For example, King Henry VIII had over 2,000 tapestries throughout his many palaces. They were hung in churches, castles, and places for the wealthy people (Victoria and Albert Museum). Most tapestries contained historical content that told memorable stories. In some cases, multiple tapestries were hung side by side to create a visual picture that could be read (The Art Institute of Chicago).
Art was viewed in a different sense in the fourteenth century. It had a more active role and was not just decoration, but a vital component of worship and pr...
Nash, Susan. Oxford History of Art: Norther Renaissance Art. 2nd. New York: Oxford University Press, 2009. 30-65. eBook.
Located in a hallway nestled between the Art of Europe and Art of Ancient Worlds wings at the Museum of Fine Arts, Boston is the Italian Renaissance Gallery (Gallery 206). Here, Donatello’s Madonna of the Clouds and Luca della Robbia’s Virgin and child with lilies face one another, vying for museum-goers’ attention from alternate sides of the narrow gallery. Both pieces indulge ingenious techniques, original at the time of conception, to create a completely new visual experience of a very traditional biblical scene, the Virgin Mary with her child, Jesus Christ. This paper will employ close visual analysis of two 15th-century Renaissance reliefs from Florence depicting the Virgin Mary and Jesus Chris in order to show how these artists used innovative
During the 15th century, Europe started to have different cultural traditions that impacted the type artwork of artwork that was produced. There are several elements that have evolved during this time. Two artworks will be compared so that we will be able to evaluate how various techniques that are used can be used to portray the meaning of the painting as well as how the audience views the scene as well. One of the paintings that we will compare is a Annunciation panel (from the Merode Triptych), which was painted by Robert Campin in 1426. This painting will be compared to Holy Trinity, which was created by Masaccio in 1425. By comparing these two paintings, we will get a sense of what themes and ideals were valued during this time period.
The object of this book, Early Medieval Art, is to convey the theme “tradition not only receives and transforms, it literally invents a tradition upon which it founded itself” (p. 15) concerning art of the early medieval era. The purpose of this book is to summarize and offer knowledge of medieval art, that will then be included in the greater series of books by other specialists for Oxford University Press. Lawrence Nees accomplished his argument successfully by following the chronological production of the art and the traditions that are imbedded within them. Although, his thesis is strongly supported, Ness’ failure is found in his over reliance on the artwork itself, which then leads to the masking of his personal arguments.
The shift between the Middle Ages and Renaissance was documented in art for future generations. It is because of the changes in art during this time that art historians today understand the historical placement and the socio-economic, political, and religious changes of the time. Art is a visual interpretation of one’s beliefs and way of life; it is through the art from these periods that we today understand exactly what was taking place and why it was happening. These shifts did not happen overnight, but instead changed gradually though years and years of art, and it is through them that we have record of some of the most important changes of historic times.
The Baroque era was the age of magic. Flat surfaces became three-dimensional and paint on plaster became alive. It was the age of masterful illusion. Nothing exhibits this mastery better than Baroque ceiling paintings.
In the art world, the medieval periods were traditionally though to be the unproductive phase of Europe between the decline of Rome and the Renaissance. Our modern feelings toward medieval art are far more appreciative. The main intent of Medieval art was to express Christianity which was also a common bond between a wide spread and diverse Europe. For this reason most of the art found from medieval times originated in monasteries and churches. European art during the Middle Ages can be divided into four periods. These four periods include Celto-Germanic art which ranged from 400 to 800 A.D. and was important in metal work. Carolingian art ranged from 750 to 987 A.D. overlapping 50 years of the Celto-Germanic period. The period of Romanesque art spanned mainly the eleventh and twelfth centuries, and was an important period for medieval architecture. Gothic art, the final period of the Middle Age art began in the Romanesque period around the twelfth century and went on until the sixteenth century. Artwork form these four periods all consist of distinct styles setting them apart from one another.