Painting in the Middle Ages, history presentation. Medieval painting. The emergence of oil paints

"Medieval culture" - "Carolingian Renaissance". Study deeply and comprehensively material about medieval literature and art. Project: “Medieval Literature and Art.” "The Tragedy of the Person of Christ." Heroic epic of the Middle Ages: “The Song of Roland”, “The Song of Sid”, “The Song of the Nibelungs”. Stone. Find the answer to this question and outline solutions.

"Medieval Knights" - Castle Tower. Side view. Medieval castle. Knight in armor. Castle, side view. Medieval castle under attack. Knight on horseback. Life of knights. Medieval castle, general view. General view of the castle. Evening castle. General plan of the castle. Castle, general overview. Medieval castle, reproduction. Castle, front view.

“Medieval Literature” - The occasion was the events of 778 in the Ronsenval Pass. We would include in the exhibition a story about “The Romance of the Fox.” Museum of Medieval Culture and Life. The main theme of the novel is the successful fight of a fox with a stupid, bloodthirsty wolf. We studied: Presentation by a group of writers. What literary genres existed in the Middle Ages.

“Medieval cities of Kazakhstan” - Medieval cities of Kazakhstan. TANDIR clay oven for heating a medieval house and baking flatbreads. And for a long time in the moonlight we stood on the fortress wall. SUFA Clay resting platform located along the walls. Medieval cities of Kazakhstan (X-early XIII centuries). The names of some cities can only be found in folk legends and traditions.

"Medieval Art" - Experiment. Science in the Middle Ages. Gutenberg, Johann. Artistic style in the architecture and art of Europe in the 11th – 12th centuries. Development of European countries. Scholasticism. Gothic style. Medieval architecture. Used Books. Spirit of change. Conclusion. Medieval science was subject to a strictly defined hierarchical order.

“In a medieval castle” - Feudal lord. A tub from a well at Runneburg Castle around 1250. Hygiene. Lamp 15th century. Castle interior. Classes. Security. Life and everyday life in a medieval castle. Heating and lighting. Steam bath from the 14th century. Wall fireplace at Wildenberg Castle. Early 15th century. Military content. Control. Storage container and table pots.

In the Middle Ages, painting became one of the most important forms of art. Changes in the life of society and new technical techniques gave artists the opportunity to create realistic works imbued with deep humanism, which were destined to make a genuine revolution in Western European art.

At the end of the Romanesque era, painting was assigned a secondary role to painting. But with the advent of the 13th century, the rapid development of European civilization began, opening up new perspectives for artists. The palaces and castles of the highest nobility were decorated with unprecedented splendor, Paris, Prague, London, the cities of Italy and Flanders grew rapidly. Not only aristocrats and church ministers, but also wealthy townspeople were eager for new paintings - at first only on religious subjects. With the spread of literacy, the demand for secular literature also increased. The best examples of book art, richly decorated with miniatures, were intended for kings and princes and were created not only in monasteries, but also by professional artists who had their own workshops. Despite their rather low social status during their lifetime, the names of many artists and their biographies have become part of history.

New opportunities

A number of religious innovations also contributed to the new attitude towards painting. At the beginning of the 13th century, church altars were decorated with an altarpiece, against the background of which services were held. It often consisted of two (diptych), three (triptych) or more wings, but described a single group of characters or a scene. Particularly popular was the image of the donor (the person who paid for the production of the altar image and donated it to the church), whom his patron saint introduces to the Madonna. While posing complex creative tasks for the artist, the altar image at the same time opened up new, broad opportunities for self-expression in the design of the altar space, which was to become the subject of the main attention and religious feelings of the flock.

Wall painting also flourished - partly as a result of the strengthening of the founded St. Francis of Assisi of the Franciscan Order, for whom an increasing number of churches were built. Painting turned out to be the most suitable way to decorate them, since creating mosaics either required a lot of time or was considered an unaffordable luxury for an order that professed poverty and humility.

The life and work of St. himself had a strong influence on the future fate of painting. Francis of Assisi (1182-1226). The saint's sincere love for the world of living nature helped his contemporaries realize the beauty of earthly existence, and from the 13th century a new view of the world dominated in medieval painting. From now on, artists, without abandoning religious themes, depicted the material world with obvious pleasure and created in a new realistic and humanistic manner.

Madonna in a gazebo of roses. 1440 Stefan Lochner., Cologne, Wallraf Museum

The worship of the deeply human image of the Madonna also had a powerful humanistic influence on religion, and through it on art, where these subjects were constantly used.

Italian masters

Many of the trends began much earlier in Italy than in other European countries. Two masters of the late 13th century - Cimabue and Duccio - are generally recognized as the founders of the tradition of visible realism in painting, which was destined to dominate European art until the 20th century. Both left their descendants with famous altarpieces, where the main characters are the Madonna and Child.

Both painters were soon eclipsed by their younger contemporary Giotto di Bondone (c. 1267-1337). He was the first of the great Florentine masters to gain fame during his lifetime, achieving honor and wealth. However, he was so ahead of his time that many of his innovations were understood and accepted by his fellow artists only a good hundred years later. His flesh and blood heroes stand firmly on the ground, but at the same time seem to be able to move and exist in their natural or architectural surroundings and space with some hint of depth. But first of all, before us are living people with deep feelings and emotions. The amazing skill of conveying all shades of human experiences made Giotto a great dramatic artist.

Frescoes

When creating his panels, Giotto used the fresco painting technique invented by the Italians at that time. Today we call frescoes both paintings created using this technique and any wall painting in general. But a genuine fresco is always painted on top of fresh, still wet plaster, which serves as a primer for a layer of paint. The Italian word "fresco" means "fresh". During one session, he painted only that section of the wall that the master had time to fill with plaster that had not yet dried. Here the time factor played a decisive role, because pigments applied to a wet layer of plaster entered into a chemical reaction with it, forming stable compounds. The dried fresco did not peel off or crumble, preserving its pristine beauty and brightness of colors for many centuries. Thanks to this colossal technical breakthrough, the greatest masterpieces of fresco painting were created years later, including the painting of the Sistine Chapel in the Vatican by Michelangelo.

Adding depth

It was not easy for masters who first encountered this task to create the illusion of the reality of the depicted scene. Here it was necessary not only to accurately convey external outlines, but also to give the figures the volume of real bodies, and the flat surface of the picture - a sense of depth, so that the landscape would seem to be lost in the distance (we are talking about the art of perspective). More than one generation of Italian artists honed this technique, often being distracted by such tasks as creating decorative patterns. The same problem had to be solved by the masters of the rest of Europe, who at different times experienced the powerful influence of Italian art.

By the end of the 14th century, painters working in the courts of European rulers had created a more or less unified style of painting, which is often called International Gothic. Reflecting the refined atmosphere of court life, far from real life, their works were distinguished by sophistication and sophistication rather than by inner strength. The characters were given graceful poses, and although the perspective was often indicated only by a hint, the smallest details of the surroundings were depicted with pinpoint precision.

All these features were manifested with particular brightness in manuscripts decorated with miniatures, commissioned by the ruling families. The most famous masters of this genre were Paul Limburg and his two brothers, who, after working for only 16 years (1400-16), suddenly disappeared from the historical scene. Their patron and customer was the outstanding collector and connoisseur of works of art of that era, Duke Jean of Berry, the younger brother of the French king Charles V. His name was glorified by the book that went down in history under the title “The Magnificent Book of Hours of the Duke of Berry.”

Limburgs, brothers (Paul, Ermann and Jeannequin). "Luxurious Book of Hours of Duke Jean of Berry. Month of January. Fragment"

The Book of Hours owes its fame to the excellent miniatures created for it by the Limburg brothers. This work, which became the true crown of their work, remained unfinished in 1416, but 12 famous miniatures on the theme of the seasons have reached us. They depict scenes of sowing, harvesting or hunting, dedicated to a particular season.

The emergence of oil paints

In the 1430s. In what was then Flanders, which belonged to the Duke of Burgundy (present-day Belgium and the Netherlands), a completely new style of painting began to develop. Like Italy, Flanders was a land of prosperous cities. It is to this fact that many attribute the realistic style of local art, devoid of emphasized aristocracy. And just as in Italy, the flowering of Flemish painting was facilitated by the most important technical innovation - oil paints. Pigments ground with vegetable oil were significantly superior in brightness to the then prevailing tempera in painting, the basis of which was quickly drying egg yolk. And if you had to paint with tempera and create frescoes quickly, without going into small details, then oil paints could be applied layer by layer, achieving amazing pictorial effects. Since then, any artist who strives for perfection has invariably given preference to oil painting.

Flemish school

The founder of the Flemish school of painting was Robert Campin, but its most famous representatives belong to the next generation. The first of the great masters of European oil painting was the unsurpassed portrait painter Jan van Eyck (c. 1390-1441). With the help of oil paints, he achieved an excellent rendering of the play of light and shadow on various objects.

Portrait of the Arnolfini couple, Jan Van Eyck

His younger contemporary Rogier van der Weyden (c. 1399-1464) was also an unusually gifted artist. Not as concerned with detail as Van Eyck, he preferred rich bright colors, clear contours and subtle modeling of volumes, creating his own unique style, capable of conveying a wide range of emotions - from serene calm to boundless sorrow.

Isabella of Burgundy, Rogig van Der Weyden

The Flemish school gave art more than one generation of brilliant masters of painting, and throughout the 15th century, many of its inherent features were adopted by artists throughout Europe. Only since 1500 they were replaced by a new movement, gradually gaining strength behind the Alpine ridges - the Italian Renaissance.

What is painting? Painting is one of the types of fine art, the reproduction of objects and phenomena of reality with paints on canvas, wood, the plane of a wall, etc. Like other forms of art, painting is a form of reflection of the real world, a means of learning about life and public education.

The Middle Ages are often described as dark and gloomy. This was facilitated by religious wars, the acts of the Inquisition, and undeveloped medicine. However, the Middle Ages left many cultural monuments worthy of admiration for posterity. From the 11th to the 12th centuries, the Romanesque style dominated all European art. It received its main expression in architecture.

Medieval temples were decorated very modestly on the outside, but their interior decoration became more and more diverse over time, primarily due to the wall paintings of frescoes. Fresco (from Italian fresco, literally fresh), a technique of painting with paints (on clean or lime water) on fresh, damp plaster, which, when dried, forms a thin transparent film of crystalline calcium carbonate, fixing the paints and making the fresco durable.

At the end of the Romanesque era, painting was assigned a secondary role to painting. But with the advent of the 13th century, the rapid development of European civilization began, opening up new perspectives for artists. The palaces and castles of the highest nobility were decorated with unprecedented splendor, Paris, Prague, London, the cities of Italy and Flanders grew rapidly. With the spread of literacy, the demand for secular literature also increased. The best examples of book art, richly decorated with miniatures, were intended for kings and princes and were created not only in monasteries, but also by professional artists who had their own workshops.

Massive stone walls and huge window openings, through the decorative glass of which sunlight filtered through, reviving images of saints and biblical scenes. Admiring the external beauty, stained glass windows are able to create a bright emotional mood, causing silent delight, respect and awe. Installed in Catholic cathedrals, stained glass windows enhanced the religious mood of worshipers. Gothic style STAINED GLASS - paintings or patterns made of pieces of colored glass, fastened with lead rims. Light penetrated the temple through stained glass windows, playing colorful reflections on the columns, arches and floor stones.

The painting of the Middle Ages in Europe slowly acquired depth. A significant role in this process was played by the desire to convey reality in the picture with all its volumes. Slowly, honing their skills over the years, the artists learned to depict perspective, to give bodies and objects a resemblance to the original. In the 15th century, painting was enriched with a new style, which subsequently had a huge influence on all fine arts. Oil paints were invented in Flanders. Vegetable oil mixed with dyes imparted new properties to the composition. Colors have become significantly more saturated and vibrant.

Tapestry is a lint-free wall carpet with a plot or ornamental composition, hand-woven by cross-weaving threads. Tapestry Tapestries were originally called tapestries. And the word “tapestry” arose in France in the 17th century, when the royal manufactory of the Gobelin brothers opened there

In Europe, the first trellises appeared in the 18th centuries. in Germany. They not only decorated the walls of cathedrals, and then castles and palaces, but also allowed them to retain heat and protect themselves from drafts. In the early tapestries, the background was smooth, the image was simple: geometric patterns, heraldic signs, floral patterns. In the 14th century, tapestries on historical subjects appeared.

In the 15th century, mille fleur trellises (meaning “a thousand flowers”) appeared in France. Scattered on a dark green or red background are many bouquets of flowers and berries, often depicted with botanical precision. Allegorical scenes, scenes from rural life and scenes from the Bible, individual figures of boys and girls, animals and birds were depicted on a floral background.

In the Middle Ages, painting as such did not exist; it was inextricably linked with other types of fine art. For a long time, the artist was perceived as a craftsman; such a profession was not respected. But these circumstances did not interfere with the development of painting; the skill of the painters grew. The painting of the Middle Ages allowed the development of many types of art of later times, which continued trends and were based on the achievements of the Middle Ages. Conclusion

What is painting?

Painting is one of the types of fine art, the reproduction of objects and phenomena of reality with paints on canvas, wood, the plane of a wall, etc. Like other forms of art, painting is a form of reflection of the real world, a means of understanding life and public education.

Development of painting over the centuries

Painting is a very ancient art that has evolved over many centuries from Paleolithic rock paintings to the latest trends in 20th century painting.

Altamira cave painting, Spain

Back at the end of the 6th century. Pope Gregory I spoke of the enormous importance of fine art in the barbarian world: “Painting is permissible in churches so that the illiterate can read by looking at the walls, finding what they are not able to glean from books.” Thus, church paintings in the early Middle Ages turned into a “Bible for the illiterate.”

Forefather Noah in the Church of the Transfiguration, 1378. Theophan the Greek

Medieval temples were decorated very modestly on the outside, but their interior decoration became more and more diverse over time, primarily due to wall paintings - frescoes.

Temple of the Iveron Icon of the Mother of God

Medieval fresco art

Fresco(from Italian fresco, literally - fresh), a technique of painting with paints (on clean or lime water) on fresh, damp plaster, which, when dried, forms a thin transparent film of crystalline calcium carbonate, fixing the paints and making the fresco durable.

Medieval fresco of the beginning 13th century with picture Emperor who dedicates St. Martin's knighthood(artist Simone Martini). Church of St. Martin, Italy

Fresco allows you to create monumental compositions that are organically connected with architecture. In medieval painting it was used in paintings of churches, cathedrals, and temples.

Our Lady, Theophanes the Greek. 1405

The art of book miniatures

Around the end of the 3rd century. The papyrus scroll was replaced by parchment - specially processed calf or pig skin. In the VII-VIII centuries. Instead of stil (a metal writing stick) and kalam (a reed or wooden stick), they began to use bird feathers.

Book bindings, usually wooden, were covered with leather and often decorated with ivory plates, gold or precious stones. The sizes of books could be very diverse: from large to very tiny, where the miniature figures were the size of a pinhead.

15th century book binding

Book miniature. Coronation of Marie

Book miniature. Book of Hours. Luke the Evangelist

The books were decorated with miniatures. During the Carolingian era, this art reached an extraordinary flowering.

The word “miniature” comes from the Latin name for cinnabar, a red paint that was used to highlight the beginning of a text.

Fragments of pages from the Octoechos Pentagram and the Psalter with the recitation of Cetinje

Miniature painters often moved from place to place. Therefore, there were no schools of miniature painting, but there were centers for the production of illustrated manuscripts at the monasteries of some cities.

medieval monastery Sanahin

At the end of the 8th century. under the patronage of Charlemagne, a book-writing workshop was founded in Aachen. In the miniatures created here, the artists used both barbarian and ancient traditions. The complex weaving of patterns, purple and gold gave the miniatures splendor.

Book miniature "Four Evangelists", book-writing workshop in Aachen

For the first time in medieval Western Europe, images of people appeared in them - evangelists in majestic and solemn poses, usually with a book and pen in their hands.

Book miniature. XVII century Athos. Prophet Ageus

A few decades later, the traditions of Carolingian miniature painting became known in Reims, Tours (modern France) and other cities. The ancient majesty gradually disappeared in the images - human feelings revived the characters in the miniatures.

Peasants. Miniature from a French manuscript

Tapestries

Tapestry- a lint-free wall carpet with a plot or ornamental composition, hand-woven by cross-weaving threads. The tapestries were originally called trellises. And the word “tapestry” arose in France in the 17th century, when the royal manufactory of the Gobelin brothers opened there

Tapestry from the series “Lady with a Unicorn”

In Europe, the first trellises appeared in the 12th-13th centuries. in Germany. At that time, in the south of Europe, walls were decorated with fresco paintings, and tapestries appeared in the north of Europe. They not only decorated the walls of cathedrals, and then castles and palaces, but also allowed them to retain heat and protect themselves from drafts.

The triumph of hope. Brussels

In the 15th century, mille-fleur trellises appeared in France ( mille fleur, which means "a thousand flowers"). Scattered on a dark green or red background are many bouquets of flowers and berries, often depicted with botanical precision. Allegorical scenes, scenes from rural life and scenes from the Bible, individual figures of boys and girls, animals and birds were depicted on a floral background.

By the end of the 15th century, a realistic landscape appeared in the tapestries, whereas in earlier works the landscape, if it appeared, was very conventional.

“Spring”, from a series of 8 tapestries woven at the manufactory of the same name at the royal court in the 17th century

Bookplate

The Middle Ages were ending, and painting was gradually separated from other types of fine arts. One of the achievements of painting of the Middle Ages is the bookplate.

Bookplate(from lat. ex libris“from books”) is a book sign pasted by library owners onto a book, mainly on the inside of the binding.

Typically, the bookplate contains the owner’s first and last name and a drawing that succinctly and figuratively speaks about the owner’s profession, interests, or the composition of the owner’s library. Germany is considered the birthplace of the bookplate, where it appeared shortly after the invention of printing.

Engraved bookplate by German artist Albrecht Durer

Conclusion

In the Middle Ages, painting as such did not exist; it was inextricably linked with other types of fine art. For a long time, the artist was perceived as a craftsman; such a profession was not respected. But these circumstances did not interfere with the development of painting; the skill of the painters grew.

The painting of the Middle Ages allowed the development of many types of art of later times, which continued trends and were based on the achievements of the Middle Ages.

Medieval art

Art

The Middle Ages are often described as dark and gloomy. This was facilitated by religious wars, the acts of the Inquisition, and undeveloped medicine.

However, the Middle Ages left many cultural monuments worthy of admiration for posterity. Architecture and sculpture did not stand still: absorbing the features of the time, they gave birth to new styles and trends.

Along with them, the painting of the Middle Ages continued relentlessly.

From the 11th to the 12th centuries, the Romanesque style dominated all European art. It received its main expression in architecture. Temples of that time were characterized by a three-nave, or less often five-nave structure of the basilica, narrow windows that did not provide much lighting. The architecture of this period is often called gloomy. The Romanesque style in painting of the Middle Ages was also distinguished by some severity. The focus of their attention was the sacred meaning, therefore the painting of the Middle Ages, briefly lingering on details, first of all conveyed symbolic meaning, distorting proportions and relationships for this purpose

The artists of that time did not know perspective. On their canvases the characters are on the same line. However, even with a passing glance, it is easy to understand which figure is the main one in the image. To establish a clear hierarchy of characters, the masters made some significantly taller than others. Thus, the figure of Christ always towered over the angels, and they, in turn, dominated over ordinary people.

This technique also had a downside: it did not give much freedom in depicting the setting and background details.

As a result, the painting of the Middle Ages of that period paid attention only to the main points, without bothering to capture the secondary. The paintings were a kind of diagram that conveyed the essence, but not the nuances

Painting of the European Middle Ages in the Romanesque style was replete with images of fantastic events and characters.

Preference was often given to gloomy stories telling about the coming heavenly punishment or the monstrous deeds of the enemy of the human race.

Scenes from the Apocalypse have become widespread.

Gothic painting of the Middle Ages owes its emergence largely to the transformations of religious life. Thus, by the beginning of the 13th century, almost all altars were complemented by an altarpiece, consisting of two or three paintings and depicting scenes from holy scripture.

Guided by his example of love for life in all its manifestations, artists began to pay more attention to reality. On the artistic canvases, still with religious content, details of the situation began to appear, painted as carefully as the main characters.

Painting of the Middle Ages on the territory of the heiress of the Roman Empire acquired many progressive features quite early. Cimabue and Duccio, two founders of visible realism, which until the 20th century remained the main direction in the fine arts of Europe, lived and worked here. Altarpieces they performed often depicted the Madonna and Child

Even in the Romanesque period, painting of the Middle Ages was enriched with a new technique. The craftsmen began to apply paints on top of the still damp plaster. This technique was associated with certain difficulties: the artist had to work quickly, painting fragment after fragment in those places where the coating was still wet. But this technique bore fruit: the paint, being absorbed into the plaster, did not crumble, became brighter and could remain intact for a very long time

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Prepared by student of class 10 “B” Akimov Alexander