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Roman influences in medieval art (exhibition).

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Roman influences in medieval art (exhibition).

Category: Research Paper

Subcategory: Art

Level: College

Pages: 5

Words: 1375

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Roman Influences in Medieval Art (Exhibition)
Introduction
The medieval, also referred to as the Middle Age period, occurred from the end of the 5th century to around 14th century. Most of art during the medieval were for chapels and portrayed Christian narratives. Alternatively, the Renaissance period started in Italy and took place in the 15th and 16th centuries. The word resonance means rebirth or the revival of ancient Greek and Roman, literature, and learning. Several architectural changes occurred in art leading to the transformation from the medieval era to the Renaissance era. Hence the developing roles of the artists from craftsmanship to independent artists that were more visible in the incorporation of secular issues into artistic works, and particularly the mythological subjects and also the development of personal painting techniques and styles. The Middle Ages starts from the late fifth century to the period of the Renaissance and also the fifteenth century. Additionally, the pictures of the period had little to trap an attention if only perceived only from an artistic point of view, and making a comparison of it with the art in Greek which had come before, or with that of Italy which followed, the Middle Age had no factor of beauty.
The medieval art in the West covers a wider scope of place time, over 900 years of art in Rome, and many times, the North. It includes major art revolution period, regional and national art, revivals, genres, the artist’s works and the individual artists. The historians of art try to group medieval art into styles and periods, however with some difficulty. The accepted methods during the migration period include Early Christian art, insular art, Byzantine art, Pre-Romanesque and Gothic architecture Romanesque art, as well as many other times within the basic styles. Similarly, every region, during the process of becoming cultures or nations, had different decorative features, such as Norse art or Anglo-Saxon. Furthermore, medieval art was made from diverse media and the samples that exist in large numbers comprising illuminated manuscripts, sculpture, stained glass, mosaics, and metal work, all of which have survived for a longer period than those on other media such as, work in precious metals, fresco wall-paintings or textiles including pottery. Mostly at the beginning of the periods, works decorative arts or minor parts, such as ivory carving, metalwork, embroidery and enamel using precious substances, were valued than those of monumental sculptures.
The Medieval Arts

Artist: George Pratt
Culture or nationality of artist: Scotland
Title: Worship of Magi
Date: 1935
Medium: Tempera on a Vellum and Ink
Didactic Material for Adoration of the Magi
The paint is a page of was detached from sixteenth-century book. In addition to the subtle color and modeling, the image is distinct from a complicated design, from where the main section of the child appears buried upon the background that reveals in a landscape below the sides of the frame. In the major area, there are three visible from the doorway of an old building, showing respect to the Jesus Child. In the lower side, the Magi kneeling before King Herod in an arcade, with several onlookers peering at the edges of a wall. Also, a group of figures on a horseback on the left margin representing the journey taken by the Margi, all in all, the color, scheme technique, and the use of space same to the ones found in arts related to the Master James of Scotland, and whose name derives from a painting showing the ruler in his sixteenth century prayer book kept in Vienna. Also, identified by some by the Netherlanders illusionistic and illuminator Gerard Horenbou, the artist was especially adept at transforming an explaining the effects of illumination. Many of his manuscripts are commissioned by the Northern European courts. It is where works of such complex visual illusions would be appreciated.

Artist: Bequest of George D. Pratt
Culture or nationality of artist: German (Munich)
Title: The Adoration of the Magi, 1507
Date: (1996.262)
Medium: and vitreous paint, silver to–metal and colorless glass stain
Didactic Material for The Adoration of the Magi
The style of the work is a characteristic of large figures, a bold palette, individualized facial types, and rich textures a typical German glass image. While the course, earthy nature of the illusions spread over the frame, the figures and the planes of the drapery separates tight tubular folds and are unique to the Oberbayern. The alignment of the composition is where the pivotal scene separates from a recessed landscape of the wall, or another barrier. The use of glass for every composition follows a formal device established by the Nuremberg glass painters who were in the 1480s. The characteristics, especially in the Virgin’s face, with split eyebrows, eyelids lined with pencil, one line of the lip, and a nubby chin is not unique. It is frequent in the style by the Werkstattgemeinschaft, and that means a loose connection of glass painters controlled by the gifted Peter von Andlau who operated at several sites in central and southern Europe, starting from Vienna to Strasbourg, in between the 1470s and 1490s. However, no arts by Werkstattgemeinschaft are stored after the 1490s. The Metropolitan stylistically reflects the impact of the production of the association mainly by the use of a stylus and stick work to draw the textured matters, and in the use of silver satin. Furthermore, the current composition originates from Martin’s engraved version of his subject. He quotes descriptions, such as the hats of the Caspar and Melchior, which is a sign of the conservative nature of the use of the panel.
Additionally, the panel is known Munich to the commissions for the several glass cycles in 1508 including those of the Salvatorkirche and the Schlosskapelle, as well as for the Frauenkirche. No much information is known about the commissioner or donor, Schwinn.

Artist: Bartolo di Fredi
Culture or nationality of artist: (Italian, Sienese)
Title: The Adoration of the Shepherds, 14th centuryDate: (1353, died 1410)
Medium: Arched top, Tempera on wood, gold ground,
Didactic Material for The Adoration of the Shepherds
The painting portrays the homage to the Infant Jesus and the expression to the Shepherds’ direction. To develop clear association, the artist applied daring and overlapping planes perspective that is most visible in the appearing roof of the stable. Also, the scene of the narrative involves a Byzantine tradition that represents adoration by a cave with iconography. A panel is an independent group representing standing saints.

Artist: Ebreichsdorf, Schlosskapelle
Culture or nationality of artist: in Austria
Title: Adoration of the Magi ca. 1390
Date: (1986)
Medium: Pot, metal and colorless glass with vitreous paint and silver stain
Didactic Material for Adoration of the Magi
The two donations were in the commission of a private church in the emperor of Ebreichsdorf in Vienna. Additionally, the castle was at first defense for the city against invasions by Mongols, but toward the fourteenth century, Von Tirna made a decision of adding a church to the region, that he had repaired as a residential. The chapel representing scenes from the work of Jesus was in the commission of a workshop in Vienna. The childhood cycle spread across the north, illusions from Christ’s work life featured in the southern window and the Passion in the terminal window. Having countered the Mongolian attacks in the thirteenth century, they blundered in Turkey in 1684, but Ebreichsdorf did not return to the medieval artists. Except for a single region in Vienna, the Cloisters are all that survived of the whole Ebreichsdorf glass.

Artist: Pierpont Morgan
Culture or nationality of artist: Byzantine, Egypt
Title: Amulet, 6th century
Date: 1917
Medium: Hematite amulet intaglio with gilded silver
Didactic Material for Amulet
Hematite could absorb blood. On the creation of the amulet, there is a woman hurt with bleeding kneeling on near the feet of Christ. Cruciform nimbus signifies Jesus was holding the book of Gospels in his hand as he extends his other arm as a gesture of blessings toward the obsessed woman. Additionally, the symbols IC XC signify the figure of Christ. The signs abbreviated in reference to the woman’s story found in the book of Mark and Luke that tells the story of the prostrate woman. Alternatively, an invisible woman standing close to the two palm trees is a sign of fertility. The figure represents either the Virgin Mary or the cured woman from the verso. Also, the oval stone is in gilt with a suspending loop.

Title: Appliqués
Nationality: Eastern Germanic in Ukraine, Kerch
Medium: Gold sheet
Date: 1898
Didactic Material for Appliqués
The soft materials originated from the Ukrainian Crimea where they acted a signal of beauty to the clothes of the German men who got buried in the sixth century. A.D. The objects were attached to the necklines and the sleeves of the garments worn by the dead. The adornment of festive attire had an origin in the traditional Crimea.

Artist: Fletcher Fund
Nationality: German
Date: 1929
Title: Altar Cloth Medium: Linen with satin, chevron, chain, and stitches
Didactic Material for Altar Cloth
When looked at closely, the image of The Adoration of Mangi seems visibly large on the Altar Cloth. The material was helpful in the covering of altars in the Roman Chapels and those in Germany. The decoration has the image of Christ who seems to be issuing a judgment to individuals. The decoration, when translated into Latin would be the nuns and their leaders who took part in the Latin religious duties.
Bibliography
Bober, Phyllis Pray. Art, culture, and cuisine: ancient and medieval gastronomy. University of Chicago Press, 2009.
Burns, Edward McNall. Western civilizations: their history and their culture. WW Norton, 1949.
Carruthers, Mary. The book of memory: A study of memory in medieval culture. No. 10. Cambridge University Press, 2009.
Harley, John Brian, and David Woodward, eds. Cartography in prehistoric, ancient, and medieval Europe and the Mediterranean. Vol. 1. Chicago: University of Chicago Press, 2012.
Highet, Gilbert. The Classical Tradition: Greek and Roman Influences on Western Literature: Greek and Roman Influences on Western Literature. Oxford University Press, 2014.

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