Medieval Art
Medieval art was in its beginnings a debasement of the Roman. The difference consisted in the subjects represented, these being in accordance with the requirements of the early Christian communities. The form and method of the art remained classic for many centuries. The Roman civilization influenced the Northern nations, who attempted to perpetuate it. Latin became the language of the Church and of higher culture. In architecture, the basilical system and the painting style of the frescos of the Catacombs, were long retained.
Giotto di Bondone
Crucifixion, c.1330
Staatliche Museen, Berlin
The new medieval states were a result of combining the elements of the North with the civilization of Christian Rome. Political relations, which already appeared before the 8th century, culminated under the reign of Charlemagne, the founder of the Germanic empire, the great power of the time. Under Charlemagne, art differed little from that of the previous epoch. His reign marked a new period in politics development, while the arts continued the antique traditions, with few independent innovations. The capital of the new Empire, Aix-la-Chapelle, became a new Rome. Generally, the art models were those provided by the Italian Peninsula, mainly from Rome, Ravenna, and perhaps from Milan and its vicinity. The former Roman towns of the Rhine provinces also influenced the art. This is reflected by the palaces and churches of the Emperor, and in works of sculpture.
Antique traditions started to fade in the time of Otto I, and by the middle of the 10th century, productions of the old art were given up in favor of more independent creations. However, the components of Medieval art did not evolved all in the same manner. Painting and sculpture were not relieved instantly from their Byzantine subordination, and they were still restricted to the decoration of furniture, utensils, and manuscripts.
On the other hand, the architecture of the Middle Ages advanced rapidly. In some areas, the changes in art taking place within a single century were more important than thus observable since the time of Justinian. From the horizontally ceiled basilicas of Otto’s reign to the vaulted Romanesque cathedrals of Mainz and Speyer, the advance is constant, and rational. In Germany, it resulted in a new style, with a clear plan, a constructive system, and a variety of artistic forms.
Around 1100, the principles of German architecture were used in Western France, Northern Italy, and some areas of Eastern and Northern Europe. From here, the French and Italians followed an independent course of development. The Provence and Tuscany based their style upon reminiscences of the antique, while in England the artistic methods were influenced by the French ones.
Medieval art found its most brilliant expression, the Gothic style, in Northern France, towards the middle of the 12th century. At first, it was almost entirely limited to architecture, and was adopted in a short period of time by the neighboring countries. France became the centre of European culture, exercising a wide influence through the perfection of the Gothic. The new style was adopted by all the countries of Europe, except those dependent upon the Byzantine Empire.
The evolution of Middle Ages art was marked by geographical differences. The new style was a combination of the French and local elements, resulting in local Gothic styles. Italy for example adopted only the constructive and decorative features which could harmonize with the existing architecture. Each of the Italian provinces retained its peculiar characteristics, the influence of the French style in the Papal States, for instance, being scarcely perceptible.
In sculpture, the unique French works, superior to those of the Roman epoch, attained a monumental character, and the portal sculptures of the 13th century were equaled only by the Italian marble works. In the free cities of Germany, the predominant burgher element elevated the conceptions and ideals of the middle class, and transformed the cycle of ecclesiastical representations. In Italy, the degree of independence from the French influence was even higher in sculpture and painting.
Giovanni Pisano
The Pulpit in Pisa Cathedral
France cultivated chiefly two branches of painting: illumination and stained glass painting. England also adopted them, while Germany followed with new methods in miniature painting, and great perfection in stained glass. However, the decorative tendencies of French miniatures, with brilliant colors influenced by stained glass paintings, were not adopted in German art, and the pen drawings of Germany led to the great woodcuts and copper engravings.
In Netherlands, the development of French miniature painting techniques resulted in the great works of panel painting of the early 15th century. The architecture of the age of Jan van Eyck and Rogier was still purely Gothic.
In the first decades of the 15th century, Italy will take the place France had occupied in the 12th century. From the arts perspective, Italy was more than fifty years in advance of the rest of Europe.
Great names of Medieval art, like Giotto and Giovanni Pisano, were followed by a generation of artists. Masolino and Fra Angelico were representative for the Middle Ages art, however their late Gothic works, especially Fra Angelico's, were already heralding the Renaissance.
