1.
Medieval art
–
The medieval art of the Western world covers a vast scope of time and place, over 1000 years of art in Europe, and at times the Middle East and North Africa. It includes major art movements and periods, national and regional art, genres, revivals, the crafts. Art historians attempt to classify medieval art into major periods and styles, in addition each region, mostly during the period in the process of becoming nations or cultures, had its own distinct artistic style, such as Anglo-Saxon art or Norse art. Medieval art in Europe grew out of the heritage of the Roman Empire. These sources were mixed with the vigorous barbarian artistic culture of Northern Europe to produce an artistic legacy. Indeed, the history of art can be seen as the history of the interplay between the elements of classical, early Christian and barbarian art. The period ended with the self-perceived Renaissance recovery of the skills and values of art. Since a revival of interest and understanding in the 19th century it has seen as a period of enormous achievement that underlies the development of later Western art. Many regions did not regain their population levels until the 17th century. The population of Europe is estimated to have reached a low point of about 18 million in 650, doubling by 1000, in 1450 it was still only 50 million. To these figures, Northern Europe, especially Britain, contributed a lower proportion than today, and Southern Europe, including France, the increase in prosperity, for those who survived, was much less affected by the Black Death. Until about the 11th century most of Europe was short of labour, with large amounts of unused land. The medieval period saw the falling away of the invasions and incursions from outside the area that characterized the first millennium. The impression may be left by the works that almost all medieval art was religious. Most churches have been rebuilt, often times, but medieval palaces and large houses have been lost at a far greater rate. The situation is similar in most of Europe, though the 14th century Palais des Papes in Avignon survives largely intact. Paper became available in the last centuries of the period, but was extremely expensive by todays standards. Art in the Middle Ages is a subject and art historians traditionally divide it in several large-scale phases, styles or periods
2.
Renaissance art
–
Renaissance art, with Renaissance Humanist philosophy, spread throughout Europe, affecting both artists and their patrons with the development of new techniques and new artistic sensibilities. Renaissance art marks the transition of Europe from the period to the Early Modern age. In many parts of Europe, Early Renaissance art was created in parallel with Late Medieval art, the following list presents a summary, dealt with more fully in the main articles that are cited above. Classical texts, lost to European scholars for centuries, became available and these included Philosophy, Prose, Poetry, Drama, Science, a thesis on the Arts and Early Christian Theology. Simultaneously, Europe gained access to advanced mathematics which had its provenance in the works of Islamic scholars, the advent of movable type printing in the 15th century meant that ideas could be disseminated easily, and an increasing number of books were written for a broad public. The establishment of the Medici Bank and the subsequent trade it generated brought unprecedented wealth to a single Italian city, cosimo de Medici set a new standard for patronage of the arts, not associated with the church or monarchy. Humanist philosophy meant that mans relationship with humanity, the universe, a revived interest in the Classics brought about the first archaeological study of Roman remains by the architect Brunelleschi and sculptor Donatello. A similar heritage of artistic achievement occurred in Venice through the talented Bellini family, their influential inlaw Mantegna, Giorgione, Titian, the publication of two treatises by Leone Battista Alberti, De Pitura,1435, and De re aedificatoria,1452. Their masterpieces are the pulpits of the Baptistery and Cathedral of Pisa, the painters of the Low Countries at this period included Jan van Eyck, his brother Hubert van Eyck, Robert Campin, Hans Memling, Rogier van der Weyden and Hugo van der Goes. Their painting developed independently of Early Italian Renaissance painting, and without the influence of a deliberate, the style of painting grew directly out of the Medieval arts of tempera painting, stained glass and book illumination. The media used was oil paint, which had long been utilised for painting leather ceremonial shields and accoutrements, because it was flexible, the earliest Netherlandish oil paintings are meticulous and detailed like tempera paintings. The material lent itself to the depiction of variations and texture. The Netherlandish painters did not approach the creation of a picture through a framework of linear perspective and they maintained a Medieval view of hierarchical proportion and religious symbolism, while delighting in a realistic treatment of material elements, both natural and man-made. Jan van Eyck, with his brother Hubert painted The Altarpiece of the Mystical Lamb and it is probable that Antonello da Messina became familiar with Van Eycks work, while in Naples or Sicily. His studies of perspective are thought to have influenced the painter Masaccio, the contemporary of Donatello, Masaccio, was the painterly descendant of Giotto, furthering the trend towards solidity of form and naturalism of face and gesture that he had begun a century earlier. Masaccios developments were carried forward in the paintings of Fra Angelico, the treatment of the elements of perspective and light in painting was of particular concern to 15th-century Florentine painters. Uccello was so obsessed with trying to achieve an appearance of perspective that, according to Vasari and his solutions can be seen in his masterpiece, the Battle of San Romano. In Naples, the painter Antonello da Messina began using oil paints for portraits and religious paintings at a date that preceded other Italian painters and he carried this technique north and influenced the painters of Venice
3.
Zodiac
–
The zodiac is an area of the sky centered upon the ecliptic, the apparent path of the Sun across the celestial sphere over the course of the year. The paths of the Moon and visible planets also remain close to the ecliptic, within the belt of the zodiac, in western astrology and astronomy, the zodiac is divided into twelve signs, each sign occupying 30° of celestial longitude. Because the signs are regular, they do not correspond exactly to the boundaries of the twelve constellations after which they are named, the English word zodiac derives from zōdiacus, the Latinized form of the Ancient Greek zōidiakòs kýklos, meaning circle of little animals. Zōidion is the diminutive of zōion, the name reflects the prominence of animals among the twelve signs. The construction of the zodiac is described in Ptolemys vast 2nd century AD work, the term zodiac may also refer to the region of the celestial sphere encompassing the paths of the planets corresponding to the band of about eight arc degrees above and below the ecliptic. The zodiac of a planet is the band that contains the path of that particular body, e. g. the zodiac of the Moon is the band of five degrees above. By extension, the zodiac of the comets may refer to the band encompassing most short-period comets, the division of the ecliptic into the zodiacal signs originates in Babylonian astronomy during the first half of the 1st millennium BC. The zodiac draws on stars in earlier Babylonian star catalogues, such as the MUL. APIN catalogue, around the end of the 5th century BC, Babylonian astronomers divided the ecliptic into twelve equal signs, by analogy to twelve schematic months of thirty days each. Each sign contained thirty degrees of longitude, thus creating the first known celestial coordinate system. Because the division was made into equal arcs, 30° each, in Babylonian astronomical diaries, a planet position was generally given with respect to a zodiacal sign alone, less often in specific degrees within a sign. When the degrees of longitude were given, they were expressed with reference to the 30° of the zodiacal sign, in astronomical ephemerides, the positions of significant astronomical phenomena were computed in sexagesimal fractions of a degree. For daily ephemerides, the positions of a planet were not as important as the astrologically significant dates when the planet crossed from one zodiacal sign to the next. The Babylonian star catalogs entered Greek astronomy in the 4th century BC, Babylonia or Chaldea in the Hellenistic world came to be so identified with astrology that Chaldean wisdom became among Greeks and Romans the synonym of divination through the planets and stars. Hellenistic astrology derived in part from Babylonian and Egyptian astrology, horoscopic astrology first appeared in Ptolemaic Egypt. The Dendera zodiac, a dating to ca.50 BC, is the first known depiction of the classical zodiac of twelve signs. The earliest extant Greek text using the Babylonian division of the zodiac into 12 signs of 30 equal degrees each is the Anaphoricus of Hypsicles of Alexandria. Particularly important in the development of Western horoscopic astrology was the astrologer and astronomer Ptolemy, whose work Tetrabiblos laid the basis of the Western astrological tradition. Under the Greeks, and Ptolemy in particular, the planets, Houses, Ptolemy lived in the 2nd century AD, three centuries after the discovery of the precession of the equinoxes by Hipparchus around 130 BC
4.
Illuminated manuscript
–
An illuminated manuscript is a manuscript in which the text is supplemented with such decoration as initials, borders and miniature illustrations. Comparable Far Eastern and Mesoamerican works are described as painted, islamic manuscripts may be referred to as illuminated, illustrated or painted, though using essentially the same techniques as Western works. This article covers the technical, social and economic history of the subject, for an art-historical account, the earliest surviving substantive illuminated manuscripts are from the period 400 to 600, produced in the Kingdom of the Ostrogoths and the Eastern Roman Empire. The significance of these works lies not only in their inherent artistic and historical value, had it not been for the monastic scribes of Late Antiquity, most literature of Greece and Rome would have perished in Europe. As it was, the patterns of textual survivals were shaped by their usefulness to the severely constricted literate group of Christians, the majority of surviving manuscripts are from the Middle Ages, although many survive from the Renaissance, along with a very limited number from Late Antiquity. The majority of manuscripts are of a religious nature. However, especially from the 13th century onward, a number of secular texts were illuminated. Most illuminated manuscripts were created as codices, which had superseded scrolls, a very few illuminated manuscript fragments survive on papyrus, which does not last nearly as long as vellum or parchment. Most medieval manuscripts, illuminated or not, were written on parchment, beginning in the late Middle Ages manuscripts began to be produced on paper. Illuminated manuscripts continued to be produced in the early 16th century, Manuscripts are among the most common items to survive from the Middle Ages, many thousands survive. They are also the best surviving specimens of medieval painting, indeed, for many areas and time periods, they are the only surviving examples of painting. There are a few examples from later periods, the type of book that was most often heavily and richly illuminated, sometimes known as a display book, varied between periods. In the first millennium, these were most likely to be Gospel Books, such as the Lindisfarne Gospels, the Romanesque period saw the creation of many huge illuminated complete Bibles – one in Sweden requires three librarians to lift it. Many Psalters were also illuminated in both this and the Gothic period. Finally, the Book of Hours, very commonly the personal book of a wealthy layperson, was often richly illuminated in the Gothic period. Other books, both liturgical and not, continued to be illuminated at all periods, the Byzantine world also continued to produce manuscripts in its own style, versions of which spread to other Orthodox and Eastern Christian areas. See Medieval art for other regions, periods and types, reusing parchments by scraping the surface and reusing them was a common practice, the traces often left behind of the original text are known as palimpsests. The Gothic period, which saw an increase in the production of these beautiful artifacts, also saw more secular works such as chronicles
5.
Book of hours
–
The book of hours is a Christian devotional book popular in the Middle Ages. It is the most common type of surviving medieval illuminated manuscript, Books of hours were usually written in Latin, although there are many entirely or partially written in vernacular European languages, especially Dutch. The English term primer is usually now reserved for books written in English. Tens of thousands of books of hours have survived to the present day, in libraries, the typical book of hours is an abbreviated form of the breviary which contained the Divine Office recited in monasteries. It was developed for lay people who wished to incorporate elements of monasticism into their devotional life, reciting the hours typically centered upon the reading of a number of psalms and other prayers. The Marian prayers Obsecro te and O Intemerata were frequently added, as were devotions for use at Mass, the book of hours has its ultimate origin in the Psalter, which monks and nuns were required to recite. By the 12th century this had developed into the breviary, with cycles of psalms, prayers, hymns, antiphons. Eventually a selection of texts was produced in much shorter volumes, many books of hours were made for women. There is some evidence that they were given as a wedding present from a husband to his bride. Frequently they were passed down through the family, as recorded in wills, the earliest surviving English example was apparently written for a laywoman living in or near Oxford in about 1240. It is smaller than a modern paperback but heavily illuminated with major initials, by the 15th century, there are also examples of servants owning their own Books of Hours. In a court case from 1500, a woman is accused of stealing a domestic servants prayerbook. Very rarely the books included prayers specifically composed for their owners, some include images depicting their owners, and some their coats of arms. These, together with the choice of saints commemorated in the calendar, eamon Duffy explains how these books reflected the person who commissioned them. He claims that the character of these books was often signaled by the inclusion of prayers specially composed or adapted for their owners. Furthermore, he states that as many as half the surviving manuscript Books of Hours have annotations, such additions might amount to no more than the insertion of some regional or personal patron saint in the standardized calendar, but they often include devotional material added by the owner. By at least the 15th century, the Netherlands and Paris workshops were producing books of hours for stock or distribution and these were sometimes with spaces left for the addition of personalized elements such as local feasts or heraldry. The book’s goal was to help his devout patroness to structure her daily life in accordance with the eight canonical hours, Matins to Compline
6.
Landscape painting
–
In other works, landscape backgrounds for figures can still form an important part of the work. Sky is almost always included in the view, and weather is often an element of the composition, detailed landscapes as a distinct subject are not found in all artistic traditions, and develop when there is already a sophisticated tradition of representing other subjects. The two main traditions spring from Western painting and Chinese art, going well over a thousand years in both cases. Landscape views in art may be imaginary, or copied from reality with varying degrees of accuracy. If the primary purpose of a picture is to depict an actual, specific place, especially including buildings prominently, within a few decades it was used to describe vistas in poetry, and eventually as a term for real views. However the cognate term landscaef or landskipe for a patch of land had existed in Old English. The earliest pure landscapes with no figures are frescos from Minoan Greece of around 1500 BCE. The frescos from the Tomb of Nebamun, now in the British Museum, are a famous example. These were frequently used, as in the illustrated, to bridge the gap between a foreground scene with figures and a distant panoramic vista, a persistent problem for landscape artists. The Chinese style generally showed only a distant view, or used dead ground or mist to avoid that difficulty, aesthetic theories in both regions gave the highest status to the works seen to require the most imagination from the artist. They were often also poets whose lines and images illustrated each other, a revival in interest in nature initially mainly manifested itself in depictions of small gardens such as the Hortus Conclusus or those in millefleur tapestries. The frescos of figures at work or play in front of a background of trees in the Palace of the Popes. Several frescos of gardens have survived from Roman houses like the Villa of Livia, a particular advance is shown in the less well-known Turin-Milan Hours, now largely destroyed by fire, whose developments were reflected in Early Netherlandish painting for the rest of the century. Landscape backgrounds for various types of painting became prominent and skilful during the 15th century. The Italian development of a system of graphical perspective was now known all over Europe. Indeed, certain styles were so popular that they became formulas that could be copied again and again, after the publication of the Small Landscapes, landscape artists in the Low Countries either continued with the world landscape or followed the new mode presented by the Small Landscapes. The popularity of landscape scenes can be seen in the success of the painter Frans Post. Salvator Rosa gave picturesque excitement to his landscapes by showing wilder Southern Italian country, there are different styles and periods, and subgenres of marine and animal painting, as well as a distinct style of Italianate landscape
7.
Limbourg brothers
–
The Limbourg brothers, or in Dutch Gebroeders van Limburg, were famous Dutch miniature painters from the city of Nijmegen. They were active in the early 15th century in France and Burgundy and they created what is certainly the best known late medieval illuminated manuscript, the Très Riches Heures du Duc de Berry. Around 1398, after their fathers death, the brothers were sent for by their uncle Jean Malouel, Herman and Johan learned the craft of goldsmithing in Paris. At the end of 1399 they were travelling to visit Nijmegen but, owing to a war, since their mother could not pay the ransom of 55 gold escuz, the local goldsmiths guild started to collect the money. Eventually Philip the Bold paid the ransom for the sake of their uncle Malouel, the two boys were released in May 1400. From surviving documents it is known that in February 1402 Paul and this may or may not have been the Bible Moralisée, Ms. fr.166 in the Bibliothèque nationale de France in Paris, which is indisputably an early work by the Limbourg brothers. Philip II died in 1404 before the brothers had completed their work, after Philips death, Herman, Paul, and Johan later in 1405 came to work for his brother John, Duke of Berry, who was an extravagant collector of arts and especially books. Their first assignment was to illuminate a Book of Hours, now known as the Belles Heures du Duc de Berry and this work was finished in 1409 much to the satisfaction of the duke, and he assigned them to an even more ambitious project for a Book of Hours. This became the Très Riches Heures du Duc de Berry, which is regarded as the peak of late medieval book illumination. It is kept as Ms.65 in the Musée Condé in Chantilly, Paul especially was on good terms with the duke, and received a court position as valet de chambre or personal attendant. The duke gave him jewelry and a house in Bourges. Paul was attracted to a girl, Gillette la Mercière. The duke had the girl confined, and released her only on the kings command, in 1411 Paul and Gillette married anyway, but the marriage remained childless. In the first half of 1416, Jean de Berry and the three Limbourg brothers, all less than 30 years old, died, possibly of the plague, the work of the Limbourg brothers, being mostly inaccessible, became forgotten until the 19th century. Nevertheless, they set an example for the generations of painters. They worked in a Northern European tradition, but display influences from Italian models, rob Dückers and Pieter Roelofs, The brothers van Limburg. The Art of Illumination, The Limbourg Brothers and the Belles Heures of Jean de France, the Metropolitan Museum of Art/Yale University Press,2008
8.
Simon Bening
–
Simon Bening was a Flemish miniaturist, generally regarded as the last major artist of the Netherlandish tradition. Bening, born either in Ghent or Antwerp, was trained by his father, illuminator Alexander Bening. He travelled between Ghent and Bruges and became a member of the guild of San John and Saint Luke in Bruges as an illuminator in 1508 and he made his own name after moving to Bruges in about 1510, where he had lived since. From 1517 until 1555 he is listed regularly in the annual accounts. Three times Bening served as a dean of the calligraphers, booksellers, illuminators and bookbinders in the Guild of Saint John and he was married twice and had six daughters. Bening specialised in book of hours, but by his time these were produced only for royal or very rich patrons and he also created genealogical tables and portable altarpieces on parchment. Many of his finest works are Labours of the Months for books of Hours which are small scale landscapes. In other respects his style is relatively little developed beyond that of the years before his birth and his self-portrait and other portraits equally are early examples of the portrait miniature. He produced books for German rulers, like Cardinal Albrecht of Brandenburg, and royalty like Emperor Charles V and Don Fernando, robert de Clercq, abbot of the Cistercian monastery of Ter Duinen at Koksijde, near Bruges, commissioned a Benedictional from him sometime between 1519 and 1529. Bening portrayed the abbot in a colourful Crucifixion scene, media related to Simon Bening at Wikimedia Commons Gerard David, Purity of Vision in an Age of Transition, exhibition catalog from The Metropolitan Museum of Art The Hennessy Book of Hours, c. 1530-1540 The Golf Book, c.1540 Book of Hours,1525, from the collection at Waddesdon Manor
9.
Pieter Bruegel the Elder
–
He also painted no portraits, the other mainstay of Netherlandish art. After his training and travels to Italy, he returned in 1555 to settle in Antwerp and he does the same with the fantastic and anarchic world developed in Renaissance prints and book illustrations. He is sometimes referred to as Peasant Bruegel, to him from the many later painters in his family. From 1559, he dropped the h from his name and signed his paintings as Bruegel, the two main early sources for Bruegels biography are Lodovico Guicciardinis account of the Low Countries and Karel van Manders 1604 Schilder-boeck. Guicciardini recorded that Bruegel was born in Breda, but van Mander specified that Bruegel was born in a village near Breda called Brueghel, nothing at all is known of his family background. Van Mander seems to assume he came from a peasant background, in keeping with the over-emphasis on Bruegels peasant genre scenes given by van Mander and many art historians. Breda was already a significant centre as the base of the House of Orange-Nassau, with a population of some 8,000, from the fact that Bruegel entered the Antwerp painters guild in 1551, it is inferred that he was born between 1525 and 1530. His master, according to van Mander, was the Antwerp painter Pieter Coecke van Aelst, between 1545 and 1550 he was a pupil of Pieter Coecke, who died on 6 December 1550. Bruegel possibly got this work via the connections of Mayken Verhulst, maykens father and eight siblings were all artists or married an artist, and lived in Mechelen. In 1551 Bruegel became a master in the Guild of Saint Luke of Antwerp. He set off for Italy soon after, probably by way of France. He visited Rome and, rather adventurously for the period, by 1552 he had reached Reggio Calabria at the tip of the mainland. He probably continued to Sicily, but by 1553 was back in Rome, there he met the miniaturist Giulio Clovio, whose will of 1578 lists paintings by Bruegel, in one case a joint work. These works, apparently landscapes, have not survived, but marginal miniatures in manuscripts by Clovio are attributed to Bruegel, with one exception, Bruegel did not work the plates himself, but produced a drawing which Cocks specialists worked from. In 1563 he was married in Brussels, where he lived for the rest of his life, while Antwerp was the capital of Netherlandish commerce as well as the art market, Brussels was the centre of government. Van Mander tells a story that his mother-in-law pushed for the move to him from his established servant girl mistress. By now painting had become his main activity, and his most famous come from these years. His paintings were sought after, with patrons including wealthy Flemish collectors and Cardinal Granvelle, in effect the Habsburg chief minister
