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Art of the Americas. The medieval art of the Western world covers a vast scope of time and place, over years of art in Europe , and at certain periods in Western Asia and Northern Africa. It includes major art movements and periods, national and regional art, genres, revivals, the artists' crafts, and the artists themselves. Art historians attempt to classify medieval art into major periods and styles, often with some difficulty.
A generally accepted scheme includes the later phases of Early Christian art , Migration Period art , Byzantine art , Insular art , Pre-Romanesque , Romanesque art , and Gothic art , as well as many other periods within these central 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 Viking art.
Medieval art was produced in many media, and works survive in large numbers in sculpture , illuminated manuscripts , stained glass , metalwork and mosaics , all of which have had a higher survival rate than other media such as fresco wall-paintings, work in precious metals or textiles , including tapestry. Especially in the early part of the period, works in the so-called "minor arts" or decorative arts , such as metalwork, ivory carving, enamel and embroidery using precious metals, were probably more highly valued than paintings or monumental sculpture.
Medieval art in Europe grew out of the artistic heritage of the Roman Empire and the iconographic traditions of the early Christian church. These sources were mixed with the vigorous "barbarian" artistic culture of Northern Europe to produce a remarkable artistic legacy. Indeed, the history of medieval 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 classical art, and the artistic legacy of the Middle Ages was then disparaged for some centuries.
Since a revival of interest and understanding in the 19th century it has been seen as a period of enormous achievement that underlies the development of later Western art.
The first several centuries of the Middle Ages in Europe — up to about AD - saw a decrease in prosperity, stability, and population, followed by a fairly steady and general increase until the massive setback of the Black Death around , which is estimated to have killed at least a third of the overall population in Europe, with generally higher rates in the south and lower in the north. Many regions did not regain their former population levels until the 17th century.
The population of Europe is estimated to have reached a low point of about 18 million in , to have doubled around the year , and to have reached over 70 million by , just before the Black Death. In it was still only 50 million. To these figures, Northern Europe, especially Britain, contributed a lower proportion than today, and Southern Europe, including France, a higher one.
Until about the 11th century most of Europe was short of agricultural labour, with large amounts of unused land, and the Medieval Warm Period benefited agriculture until about The medieval period eventually saw the falling away of the invasions and incursions from outside the area that characterized the first millennium.
The Islamic conquests of the 7th and 8th centuries suddenly and permanently removed all of North Africa from the Western world, and over the rest of the period Islamic peoples gradually took over the Byzantine Empire , until the end of the Middle Ages when Catholic Europe, having regained the Iberian peninsula in the southwest, was once again under Muslim threat from the southeast.
At the start of the medieval period most significant works of art were very rare and costly objects associated with secular elites, monasteries or major churches and, if religious, largely produced by monks. By the end of the Middle Ages works of considerable artistic interest could be found in small villages and significant numbers of bourgeois homes in towns, and their production was in many places an important local industry, with artists from the clergy now the exception. However the Rule of St Benedict permitted the sale of works of art by monasteries, and it is clear that throughout the period monks might produce art, including secular works, commercially for a lay market, and monasteries would equally hire lay specialists where necessary.
The impression may be left by the surviving works that almost all medieval art was religious. This is far from the case; though the church became very wealthy over the Middle Ages and was prepared at times to spend lavishly on art, there was also much secular art of equivalent quality which has suffered from a far higher rate of wear and tear, loss and destruction.
The Middle Ages generally lacked the concept of preserving older works for their artistic merit, as opposed to their association with a saint or founder figure, and the following periods of the Renaissance and Baroque tended to disparage medieval art. Most luxury illuminated manuscripts of the Early Middle Ages had lavish treasure binding book-covers in precious metal, ivory and jewels; the re-bound pages and ivory reliefs for the covers have survived in far greater numbers than complete covers, which have mostly been stripped off for their valuable materials at some point.
Most churches have been rebuilt, often several times, but medieval palaces and large houses have been lost at a far greater rate, which is also true of their fittings and decoration. In England, churches survive largely intact from every century since the 7th, and in considerable numbers for the later ones—the city of Norwich alone has 40 medieval churches—but of the dozens of royal palaces none survive from earlier than the 11th century, and only a handful of remnants from the rest of the period.
Many of the longest running scholarly disputes over the date and origin of individual works relate to secular pieces, because they are so much rarer - the Anglo-Saxon Fuller Brooch was refused by the British Museum as an implausible fake, and small free-standing secular bronze sculptures are so rare that the date, origin and even authenticity of both of the two best examples has been argued over for decades. The use of valuable materials is a constant in medieval art; until the end of the period, far more was typically spent on buying them than on paying the artists, even if these were not monks performing their duties.
Gold was used for objects for churches and palaces, personal jewellery and the fittings of clothes, and—fixed to the back of glass tesserae —as a solid background for mosaics , or applied as gold leaf to miniatures in manuscripts and panel paintings. Many objects using precious metals were made in the knowledge that their bullion value might be realized at a future point—only near the end of the period could money be invested other than in real estate , except at great risk or by committing usury.
The even more expensive pigment ultramarine , made from ground lapis lazuli obtainable only from Afghanistan , was used lavishly in the Gothic period, more often for the traditional blue outer mantle of the Virgin Mary than for skies.
Ivory , often painted, was an important material until the very end of the period, well illustrating the shift in luxury art to secular works; at the beginning of the period most uses were shifting from consular diptychs to religious objects such as book-covers, reliquaries and croziers , but in the Gothic period secular mirror-cases, caskets and decorated combs become common among the well-off.
As thin ivory panels carved in relief could rarely be recycled for another work, the number of survivals is relatively high—the same is true of manuscript pages, although these were often re-cycled by scraping, whereupon they become palimpsests.
Even these basic materials were costly: when the Anglo-Saxon Monkwearmouth-Jarrow Abbey planned to create three copies of the bible in —of which one survives as the Codex Amiatinus —the first step necessary was to plan to breed the cattle to supply the 1, calves to give the skin for the vellum required.
Paper became available in the last centuries of the period, but was also extremely expensive by today's standards; woodcuts sold to ordinary pilgrims at shrines were often matchbook size or smaller. Modern dendrochronology has revealed that most of the oak for panels used in Early Netherlandish painting of the 15th century was felled in the Vistula basin in Poland, from where it was shipped down the river and across the Baltic and North Seas to Flemish ports, before being seasoned for several years.
Art in the Middle Ages is a broad subject and art historians traditionally divide it in several large-scale phases, styles or periods.
The period of the Middle Ages neither begins nor ends neatly at any particular date, nor at the same time in all regions, and the same is true for the major phases of art within the period. Early Christian art, more generally described as Late Antique art, covers the period from about before which no distinct Christian art survives , until the onset of a fully Byzantine style in about There continue to be different views as to when the medieval period begins during this time, both in terms of general history and specifically art history, but it is most often placed late in the period.
In the course of the 4th century Christianity went from being a persecuted popular sect to the official religion of the Empire, adapting existing Roman styles and often iconography , from both popular and Imperial art. From the start of the period the main survivals of Christian art are the tomb-paintings in popular styles of the catacombs of Rome , but by the end there were a number of lavish mosaics in churches built under Imperial patronage.
Over this period imperial Late Roman art went through a strikingly "baroque" phase, and then largely abandoned classical style and Greek realism in favour of a more mystical and hieratic style—a process that was well underway before Christianity became a major influence on imperial art. Influences from Eastern parts of the Empire— Egypt , Syria and beyond, and also a robust "Italic" vernacular tradition, contributed to this process.
Figures are mostly seen frontally staring out at the viewer, where classical art tended to show a profile view - the change was eventually seen even on coins. The individuality of portraits, a great strength of Roman art, declines sharply, and the anatomy and drapery of figures is shown with much less realism. The models from which medieval Northern Europe in particular formed its idea of "Roman" style were nearly all portable Late Antique works, and the Late Antique carved sarcophagi found all over the former Roman Empire; [11] the determination to find earlier "purer" classical models, was a key element in the art all'antica of the Renaissance.
Ascension of Christ and Noli me tangere , c. See Drogo Sacramentary for a similar Ascension years later. Consular diptych , Constantinople , in fully Late Antique style. Ottonian panel from the Magdeburg Ivories , in a bold monumental style with little attempt at classicism; Milan — Late 14th century French Gothic triptych , probably for a lay owner, with scenes from the Life of the Virgin.
Byzantine art is the art of the Greek-speaking Byzantine Empire formed after the division of the Roman Empire between Eastern and Western halves, and sometimes of parts of Italy under Byzantine rule.
It emerges from Late Antiquity in about CE and soon formed a tradition distinct from that of Catholic Europe but with great influence over it.
In the early medieval period the best Byzantine art, often from the large Imperial workshops, represented an ideal of sophistication and technique which European patrons tried to emulate.
During the period of Byzantine iconoclasm in the vast majority of icons sacred images usually painted on wood were destroyed; so little remains that today any discovery sheds new understanding, and most remaining works are in Italy Rome and Ravenna etc. Byzantine art was extremely conservative, for religious and cultural reasons, but retained a continuous tradition of Greek realism, which contended with a strong anti-realist and hieratic impulse.
After the resumption of icon production in until the Byzantine art tradition continued with relatively few changes, despite, or because of, the slow decline of the Empire. There was a notable revival of classical style in works of 10th century court art like the Paris Psalter , and throughout the period manuscript illumination shows parallel styles, often used by the same artist, for iconic figures in framed miniatures and more informal small scenes or figures added unframed in the margins of the text in a much more realist style.
Monumental sculpture with figures remained a taboo in Byzantine art; hardly any exceptions are known. But small ivory reliefs, almost all in the iconic mode the Harbaville Triptych is of similar date to the Paris Psalter, but very different in style , were a speciality, as was relief decoration on bowls and other metal objects.
The Byzantine Empire produced much of the finest art of the Middle Ages in terms of quality of material and workmanship, with court production centred on Constantinople , although some art historians have questioned the assumption, still commonly made, that all work of the best quality with no indication as to origin was produced in the capital. Byzantine art's crowning achievement were the monumental frescos and mosaics inside domed churches, most of which have not survived due to natural disasters and the appropriation of churches to mosques.
Byzantine art exercised a continuous trickle of influence on Western European art, and the splendours of the Byzantine court and monasteries, even at the end of the Empire, provided a model for Western rulers and secular and clerical patrons. For example, Byzantine silk textiles, often woven or embroidered with designs of both animal and human figures, the former often reflecting traditions originating much further east, were unexcelled in the Christian world until almost the end of the Empire.
These were produced, but probably not entirely so, in Imperial workshops in Constantinople, about whose operations we know next to nothing—similar workshops are often conjectured for other arts, with even less evidence. The gold ground style in mosaics, icons and manuscript miniatures was common across europe by the Gothic period. Some other decorative arts were less developed; Byzantine ceramics rarely rise above the level of attractive folk art , despite the Ancient Greek heritage and the impressive future in the Ottoman period of İznik wares and other types of pottery.
The Coptic art of Egypt took a different path; after the Coptic Church separated in the mid-5th century it was never again supported by the state, and native Egyptian influences dominated to produce a completely non-realist and somewhat naive style of large-eyed figures floating in blank space.
This was capable of great expressiveness, and took the "Eastern" component of Byzantine art to its logical conclusions. Coptic decoration used intricate geometric designs, often anticipating Islamic art.
Because of the exceptionally good preservation of Egyptian burials, we know more about the textiles used by the less well-off in Egypt than anywhere else. These were often elaborately decorated with figurative and patterned designs. Other local traditions in Armenia , Syria , Georgia and elsewhere showed generally less sophistication, but often more vigour than the art of Constantinople , and sometimes, especially in architecture , seem to have had influence even in Western Europe. For example, figurative monumental sculpture on the outside of churches appears here some centuries before it is seen in the West.
Migration Period art describes the art of the " barbarian " Germanic and Eastern-European peoples who were on the move, and then settling within the former Roman Empire, during the Migration Period from about ; the blanket term covers a wide range of ethnic or regional styles including early Anglo-Saxon art , Visigothic art , Viking art , and Merovingian art , all of which made use of the animal style as well as geometric motifs derived from classical art.
Most artworks were small and portable and those surviving are mostly jewellery and metalwork, with the art expressed in geometric or schematic designs, often beautifully conceived and made, with few human figures and no attempt at realism. The early Anglo-Saxon grave goods from Sutton Hoo are among the best examples. As the "barbarian" peoples were Christianized , these influences interacted with the post-classical Mediterranean Christian artistic tradition, and new forms like the illuminated manuscript , [15] and indeed coins , which attempted to emulate Roman provincial coins and Byzantine types.
Early coinage like the sceat shows designers completely unused to depicting a head in profile grappling with the problem in a variety of different ways. As for larger works, there are references to Anglo-Saxon wooden pagan statues, all now lost, and in Norse art the tradition of carved runestones was maintained after their conversion to Christianity. The Celtic Picts of Scotland also carved stones before and after conversion, and the distinctive Anglo-Saxon and Irish tradition of large outdoor carved crosses may reflect earlier pagan works.
Viking art from later centuries in Scandinavia and parts of the British Isles includes work from both pagan and Christian backgrounds, and was one of the last flowerings of this broad group of styles. Anglo-Saxon silver sceat , Kent , c. Diademed head, holding cross; reverse, wolf-headed snake. Parts of a Norwegian wooden doorway, 12th century, in the Urnes style. Image-stone from Sweden. Insular art refers to the distinct style found in Ireland and Britain from about the 7th century, to about the 10th century, lasting later in Ireland, and parts of Scotland.
The style saw a fusion between the traditions of Celtic art , the Germanic Migration period art of the Anglo-Saxons and the Christian forms of the book, high crosses and liturgical metalwork. Extremely detailed geometric, interlace , and stylised animal decoration, with forms derived from secular metalwork like brooches , spread boldly across manuscripts, usually gospel books like the Book of Kells , with whole carpet pages devoted to such designs, and the development of the large decorated and historiated initial.
There were very few human figures—most often these were Evangelist portraits —and these were crude, even when closely following Late Antique models. The insular manuscript style was transmitted to the continent by the Hiberno-Scottish mission , and its anti-classical energy was extremely important in the formation of later medieval styles.
In most Late Antique manuscripts text and decoration were kept clearly apart, though some initials began to be enlarged and elaborated, but major insular manuscripts sometimes take a whole page for a single initial or the first few words see illustration at beginnings of gospels or other sections in a book.
Allowing decoration a "right to roam" was to be very influential on Romanesque and Gothic art in all media. The buildings of the monasteries for which the insular gospel books were made were then small and could fairly be called primitive, especially in Ireland.
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Collection of matchbook covers from Pennsylvania establishments
Bouchard, 67, got into the hobby innocently enough. The Free Press Newsletter. The missive read, in part: "Hi David. This is a collection of approximately matchbook covers dating from around the s to the s from various businesses from across Pennsylvania. Bouchard, who was attending a matchbook convention in Tampa Bay in March when the federal government advised Collectorss vacationing abroad to consider returning home as soon matchbook cover collectors free possible owing to COVID, currently spends the majority of his free time fine-tuning his horde. Once the matches have been extracted, he inserts the cardboard covers into a vice, as many as 50 at a time, for a few hours to matchbook cover collectors free the folds.
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Medieval art - Wikipedia.
A few years ago, my dad gave me his collection of matchbook covers from the late 40s to the late 50s. They're cool to look at but I have no clue about any. Get the best deals on Collectible Matchbooks when you shop the largest online Free shipping on many items | Browse your favorite brands | affordable prices.
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Cite as: [Indicate cited item or series here], Collection of matchbook covers from Pennsylvania establishments CollectionThe Historical Society of Pennsylvania. This is a collection of approximately matchbook covers dating from around the s to the s from various businesses from matchbopk Matchbook cover collectors free. Many originated from restaurants, clubs, hotels, and bars, but other types of establishments are represented as well, such as garages and clothing stores. The majority of them contain business names and addresses, and some display colorful and ornate advertisements, cartoons, pinups, and logos.
The matchbooks had been arranged into two sections, and that matchbook cover collectors free has been maintained, along with the their original housing in matchbook cover collectors free sleeves. The first section consists of those specifically from Philadelphia-area retailers.
The second section consists of matchbooks collected from places primarily located in the southeastern portion of Pennsylvania, such matchbook cover collectors free Harrisburg, Lancaster, and Allentown.
They have been roughly arranged in alphabetical order by city names. They are also all flattened and the matches in each have been removed. Many of them retain their originals strikes the strip that is used to light the matchesbut on some the strikes have been cut off.
Collection of matchbook covers from Pennsylvania establishments Collection Collection of matchbook covers from Pennsylvania matchbbook Collection circa 0.