Early Middle Ages

Late Antiquity

300-700 CE

Middle Ages/Medieval

476-1400 CEThe period following the fall of the Western Roman Empire, characterized by feudalism, rise of kingdoms, and transition to the Renaissance.

Early Middle Ages

500-1000 CE

High Middle Ages

1000-1400 CE

“Cloisonne” Purse Cover from Sutton Hoo c. 600-650 CE, Early Middle Ages

-Small shapes filled with enamel

-Coins found in purse helped date it.

-Typical type of art that survives from time period.

Lindisfarne Gospels, “Carpet Page” c. 715-720, Early Middle Ages

-Gospels tell the life of Jesus, old testiment

-Little to no empty space

-Beginning page playing with forms of lettersand intricate designs mostly in gold and bright colors, showcasing insular art from that era.

Lindisfarne Gospels, St. Matthew the Evangelist, c. 715-720, Early Middle Ages

-Perspective of the whole piece is off, bench, body position

-Where are that guys feet

-The lack of realism in the cloth is very noticeable.

Book of Kells, Chi Rho Iota Page, c. 800, Early Middle Ages

-Like christ’s monogram

-Abstract, interlaced, and representational

Morgan Beatus, Vision of the Heavenly Jerusalem, 940-45 CE, Early Middle Ages

-Very influential book, deals with the end of the world and final judgement.

-Illustrations tell the story along with commentary → Helps people understand the complex text.

-Oldest and most complete version we have of the Beatus

-Survivng example of medeival color.

Morgan Beatus, Last Judgement 940-45 CE, Middle Ages

-Color blocking centers attention around specific parts.

• Jesus’ circle taking over the different levels: showing his importance.

  • Attention drawn to Jesus and depictions of Hell

St. Matthew the Evangelist Coronation Gospels, Early 9th Century, Carolingian

-Coronation Gospels → Used in the coronations of holy roman emperor.

-On purple parchment → Color of royalty

-Set in a Greco Roman scene

-Conservative straight face, more realistic

-Makes attempts at realism and perspective.

St. Matthew the Evangelist, Ebbo Gospels c. 825-850, Carolingian

-Drapery more realistic

-Set in a naturalistic theme/background, more Greco Roman

-More emotion → Dramatic

-Downturn eyebrows/expression

-3D illusionism

Psalm 81 in the Utrecht Psalter, 9th Century CE, Carolingian

-Psalter: book of psalms

-Complicated relationship between text and image

-Storybook like → Light brushtrokes gives somethign fresh/impressionistic.

Lindau Gospels c. 870-880, Carolingian

-One of the only extravagant gospel covers to survive

-Christ on the cross: schematized and not realistic, archaic greek like

-Christ not following the laws of gravity: defeated death so didn’t want to depict him as dead.

Palatine Chapel, Aachen Germany, 792-805 ce, Carolingian

-Lots of roman influence

-Charlamange built this in the new capital

-They took materials from the roman rivena to make the chapel

Ottonian Period

936-1024 CE

Otto I presenting the Magdeburg Cathedral to Christ, c. 962-68, Ottonian

-Otto presenting Jesus with a minature version of the Church, common motif in this period.

-Hierarchy of scale: Jesus bigger than Otto (the emperor)

Lothair Cross, Aachen Cathedral treasury, Germany, 1000 CE, Ottonian

-Similar to an ancient portrayal of Augustus → Attempting to show otto as the successor of Augustus

-Deep Roman influence during these times because wanted to copy their success and legacy.

The Gero Crucifix, Cologne, Germany, 970 CE, Ottonian

-Not idealized

-Christ’s face is drooping, dreary, sad looking → Emphasizing suffering of Christ

-Realistic Depiction: Gravity hanging from the cross, naturalistic

Doors of Bishop Bernward, Cathedral of the Assumption, Hildesheim, Germany, 1015 CE, Ottonian

-Bernward made a pilgrimage to Rome where he was inspired by the doors he saw to make this.

-Left door: Scenes from Old Testiment

-Right Door: Scenes from the new testiment

-People liked to juxtapose scenes fro the old and new testiment.

Gospels of Otto III, c. 1000, Ottonian

-Otto on the throne: Hierarchy of scale, lack of perspective (feet), the curtain/cloth motif, flat, no depth, not a portrait of otto

-Personifications of the areas Otto rules, iconography represents the provinces

-St.Luke the Evangelist looks powerful interacting with the heavens.