Chapter 12 Rome in the East: The Art of Byzantium. What makes a good Byzantine painting? Purity of color Strong outlines Figures pushed up against the picture plane Little to no background. A good Byzantine painting is a painting that has a Strong sense of spiritual authority.
Chapter 12 Rome in the East: The Art of Byzantium. What makes a good Byzantine painting? Purity of color Strong outlines Figures pushed up against the picture plane Little to no background. A good Byzantine painting is a painting that has a Strong sense of spiritual authority.
Chapter 12 Rome in the East: The Art of Byzantium. What makes a good Byzantine painting? Purity of color Strong outlines Figures pushed up against the picture plane Little to no background. A good Byzantine painting is a painting that has a Strong sense of spiritual authority.
The Art of Byzantium Constantinople • 324 CE Constantine founds new capital of Roman Empire • Located in Turkey • Split between Eastern & Western Christianity occurs mid-5th century • Fell to Muslims in 1453 • Modern-day Istanbul, Turkey Successors to Augustus • Byzantium was the successor to Rome • Called themselves Romans • Spoke Greek • Theocratic state: temporal & secular power • Emperors sought to eliminate heresy (i.e. any religion other than Greek Orthodox) What makes a good Byzantine painting? • Purity of color • Strong outlines • Figures pushed up against the picture plane • Little to no background 12-1 Justinian as World Conqueror • Part of a diptych (two part altarpiece) • Ivory, mid-6th century • Justinian large central figure • Larger than horse • Religious images over all 12-2 Saint Michael the Archangel • Ivory diptych leaf • Early 6th century • Temporal and spiritual authority • Inheritance of late Roman forms • Drapery folds cover substantial legs • Upper body sketchy 12-3 Hagia Sophia, Constantinople • 532-537 CE • Anthemius of Tralles & Isidorus of Miletus • Mathematicians not architects • Scale similar to Pantheon • Originally without minarets 12-4 Plan & Section, Hagia Sophia • Large central square with dome • Subsidiary squares extend out from center with smaller domes & half-domes • Extended apse • Centrally planned, longitudinal emphasis 12-5 Interior view, Hagia Sophia • Dome pierced by windows • Support comes from subsidiary domes • Originally too shallow and too heavy • Dome replaced in 558 • Final version higher and more stable 12-6 San Vitale, Ravenna,Italy • Small church in capital of Western Roman Empire • Remained Byzantine outpost in Italy after capture in 539 • Mosaics & churches largely intact 12-7 Plan of San Vitale, Ravenna • Small narthex, or entryway • Large octagonal interior • Extended apse with two towers • Two staircase towers flank narthex 12-9 Choir & apse of San Vitale • Christ in majesty in apse vault • Mosaics cover every surface • Stories of Christ & the saints • Marble intarsia along lower section of walls 12-10 Justinian Mosaic • Emperor of Byzantium 527-565 • Represented with General Belisarius (conqueror of Ravenna) and Bishop Maximianus • Brings offering of golden plate to church 12-11 Theodora Mosaic • Former circus performer, married the emperor • Power behind the throne • Attendants not identified • Brings chalice to the church 12-12 Saint Apollinaris Amid Sheep • Apse mosaic, Sant’Apollinare in Classe (Ravenna) • 533-549 • Saint witnesses the Transfiguration of Christ • Orant stance similar to catacomb figures • 12 Sheep=apostles 12-13 Transfiguration of Christ • Monastery of St. Catherine, Mt. Sinai, Egypt, 565 • Beginning of monastic movement in Egypt • Hermits seeking spiritual life away from civilisation • Establishment of monastic “rule” brought together like-minded monks into communities 12-15 Ascension of Christ Rabbula Gospels • Parallels the Virgin and Christ at the moment of his ascension • Angels and apostles below with Virgin • Gospels (Matthew, Mark, Luke & John) don’t contain story of ascension—from Acts 12-16 Virgin Theotokos with Saints Theodore & George • Encaustic on wood— painting with pigment & wax • Virgin becomes the “throne” of the Christ Child in most representations • Icon used to focus devotion of the faithful Iconoclasm • Iconoclasm: literally, breaking icons • Destruction of images spurred by reminders of commandment against graven images • Strong belief in icons as vehicles of divine power threatened power of the emperors • Emperors ordered destruction of icons beginning 726 • Restoration of images began 843 12-17 Virgin Theotokos, Hagia Sophia • Hagia Sophia converted to mosque • All human represent- ations white-washed • One of the oldest mosaics from Hagia Sophia • Jeweled throne, child as miniature adult 12-20 Interior of Katholikon, Hosios Loukas, Greece • Note positions of art: screen, Virgin & Child, Pantocrator in dome • Interior as dramatic presentation of transition between heaven & earth 12-21 Christ Pantokrator Church of the Dormition, Dapni • c. 1090-1100 • 2nd golden age of Byzantine Art • Pantokrator: ruler of all (judge of humanity) • Flat color, fierce image 12-22 Crucifixion, Daphni, Greece • Icons painted based on formulas • All figures to be visible and flat against picture plane • Simple gestures • Plain gold background • Reliance on tradition San Marco, Venice • Byzantine influence in Italian port city • Central dome with four supporting domes • Ornate façade • Placed at end of long piazza 12-23 Interior of San Marco • Church as other- worldly experience • Parts of church lead viewer through life, death & resurrection of Christ • Glittering gold back- ground dazzles viewer, transports beyond reality 12-24 Pantokrator, Theotokos & Child, Apse Mosaic, Monreale • c. 1180-1190 • Basilica church for royal patron on Sicily • Christ as judge in half dome of apse (no vault) • Virgin & Child with apostles below 12-27 Lamentation, Saint Pantaleimon, Nerezi, Macedonia • Wall painting, 1164 • Christ and Virgin in sorrow • St. John holds Christ’s hand • Body laid out flat • Elongated forms standard • Sorrowing angels above 12-28 David Composing the Psalms, Paris Psalter • Classicizing influence • David as Greek hero • Naturalistic landscape • Melody seated behind • Echo behind column • Red figure in fore- ground=Bethlehem 12-29 Vladimir Virgin • Culmination of icon tradition • Elimination of subsidiary figures • Christ child & virgin meet cheek to cheek • Damaged over time & re-painted often • Believe to have divine power to protect 12-31 Anastasis from Chora • Fresco • Different palette than mosaic • Blue background • Adam & Eve raised from tombs • Satan, locks & keys of hell trampled under Christ’s feet 12-33 Annunciation Icon • Announcement to Mary of Christ’s birth • Angel enters from Left • Wings still flapping, garment fluttering • Mary recoils in fear • Simplified architectural frame 12-34 Andrei Rublyev, Three Angels • 3 angels visited Abraham to tell of the birth of son Isaac • Interpreted as forerunners of Trinity • Vivid color, sinuous line • Small architectural detail in background