2 Celtic and Insular Art Flashcards
When was the celtic art period?
Approx.: 1500 years or: 500BC - 800AD (Includes the Iron Age, Roman Empire and early Medievel)
visual aspects of celtic art?
Typically seen as ambiguous Note: Very different from realism which was being created elsewhere in Europe at the time. performative Possibly more concerned with the symbolism of a motif on a scabbard or brooch than with the degree of skill. Don’t know the precise meanings of motifs can only speculate e.g. the animals shown (boar) and the three-armed triskcle. Consider in the exam: May be heraldic Not typically seen as narrative human head is omnipresent, frequently mask-like and ‘severed’ - usually no specified gender
What are some of the effects of the complex imagery?
Imagery has no solid beginning or end, leading the eye around the design. Interlocking imagery blurs the line between myth and reality. Pairs of animals may be an attempt to show the animal from both angles
Which technique is demonstrated here?
Interlace A decorative element that has abstract linear patterns Looks woven has intertwined lines (See What are some of the effects of the complex imagery?)
how was celtic art different from art before?
Bronze and Iron Age: Simple geometric shapes, large quantities of artefacts, e.g. axes. Poorly made, potentially offerings for gods.
Quantity rather than Quality
Name some typical Formal Elements Pre Roman Influence
Art in everyday objects
Predominantlly gold alloys and bronze (an alloy of copper and tin)
Use of inlays: e.g red coral and glass
Embellishments beyond functional utility.
what’s repousse?
Beating up sheet metal from the reverse
side, used in creating animal figures in metal work.
what was celtic art used for?
No definite meaning as there is no written text.
Interpretations may be made from looking at the objects
Historians have categorized cletic art into: warfare, eating and drinking, personal appcarance, horse and chariot gear, and religion
“Used to send messages about beliefs and ideas about the natural, human and other worlds” (Joy Jody)
Introduction of christianity in 700AD changed role of art to primarily religious
Note: Augustine mission in 597
Shift shows a social change
Decorative weaponry suggests that being a warrior was an important part of being a man across Europe
Exemplified wealth
Artwork: Battersea Shield
Medium: bronze with raised decoration and red glass inlay
Date: 350-60 AD
Information: Not likely to be used during battle due to its condition, but
Fun Fact!: Anglo-Saxons buried with their possessions not true for other celtic origins.
what else was celtic art used for?
Jewellery and food containers
e.g. wooden tankards (for alchohlic drinks) encased in bronze. Crafted from poisonous yew to make the consumption a challenge of its own
people wanted to impress onlookers
Artwork: Openwork bronze belt-clasp
Date: 450-400 BC
Medium: Bronze, coral
Information: shows two symmetrical animals perhaps an attempt to show a change in perspective. Human like figure in the centre. Elaborate design draws attention to the wearer - personal item. Use of coral to enrich the design.
Artwork: Hanging-bowl from the Sutton Hoo ship burial
Date: 610-40 AD
Medium: Bronze, enamel
Information: Hanging bowls were sought after, travelled far from origin of creation. “northern Britain but may have been in southern England for some time because it was repaired
using silver patches decorated with animals in a
style typical of Anglo-Saxon art.”
Can be recognised as a hanging bowl by hooks in the bowl
potentially kept near fires - light glistening off enamel, theatrical, performative art.
Note: Applicable also for cauldrens
Artwork: Stanwick horse mask
Date: 40-80 AD
Medium: Bronze
Information: Would have fitted onto a bucket. Quite a modest place for something so beautifully constructed. Horse mask is life size and nostrils appear to be flared.
Artwork: Trawsfynydd tankard
Date: 50 BC-AD 75
Medium: Bronze, wood - yew
Encased in bronze sheet, the yew (poisonous staves and circular base of this tankard are well preserved due to its burial within peat. The cast bronze handle includes an openwork S-shaped design
Who was celtic art for?
Although found in everyday objects, the detailed complexity in much of the artwork would have required invitation to view properly.
Private space
Much of the decoration was hidden or disguised within everyday objects.
what were some iron and bronze age infleunces on celtic art?
Iron Age simple geometric patterns created from rectangles, triangles and circles are found on certain types or pottery.
Bronze Age Ring-and-dot patterns also feature on bone and antler artefacts like weaving combs and pottery.
Artwork: Weaving comb
Date: 300-100 BC
Medium: Antler
Information: Example of ring and dot patterns reminiscent of bronze age designs. Personal and unique objects.
Artwork: Ceramic Shoe
Date: 450-400 BC
Medium: Ceramic
Information: geometric circles stamped into the clay an example of Iron age influences.
Artwork: Great Torc from Snettisham (East Anglia)
Date: c 100-75 BC
Medium: 1 kg of Gold and silver alloy.
Information: Neck Ring. 8 ropes formed from 8 hand hammered wires twisted together. Technically challenging.
‘Terminals’ at either end created using lost wax technique
Virtually irreproducible due to the complexity of its creation
what is the technique of lost wax?
Design modelled in wax and then covered in clay. The mould it heated to melt the wax, leaving a void to pour metal into and create a metal cast of the design.
What changed with the introduction of Roman Empire in terms of the construction of celtic art?
Quantity began to increase, making celtic art more available, appearing on roman artefacts such as, seals boxes, vessels and die-stamped brooches.
Introduction of brass and other copper alloys
what is the technique of diestamp?
Die-stamped brooches after roman influence.
Medium: Copper Alloy (Possibly recycled from roman artefacts
Notes: Personal objects
2 dimensional designs flourished with coloured enamel
what are the filigree and granulation techniques?
Filigree: Ornamental work of fine wire formed into delicate tracery
Granulation: Surface is covered in spherules or granules of precious metal
Gilding: Process of applying gold leaf (later years - additional use of enamel to make brooches unique)
What did the act of creating christian devotional objects mean to the maker?
The time and effort involved in creating christian devotional objects was an act of piety and devotion in itself.
Where can the first images of christ’s crucifixion be found in the west?
On a carved ivory and a panel door of the Santa Sabina Church in Rome
Date: C. 420-32
Note: Very few artwork showing the crucifixion from before the 8th century survived, even in areas where representational art was common.
Artwork: The Crucifixion, Durham Gospels
Date: late 7th century
Information:
Fun Fact:
Monks reacted badly to the representation and pasted a new image over, which has flaked off over time
Colour intensified to make up for paint loss; strange effect
Not slumped; strong; ‘rising’ - will rise again, shows both death and resurrection
Shape of cross is abstract
Orpiment mineral mimics gold; shimmery
Text: Alpha and Omega:
Phrase from Book of Revelation
Beginning and end
Duality
“if we suffer with him we will be saved”
Artwork: The Crusifixion, St Gall Gospels
Date: c. 900
Information:
Separate Book of Revelation (Resurrection right) and (Crucifixion left) pages
The man on the right of the crucifix, is possibly the guard who blinded himself and was subsequently healed by god.
Resurrection:
“They shall look” - end of the world; humanity confronted
“Whom they have pierced” - all the things that pierced his body” ‘Revenge of Jesus’
Artwork: Temptation of Christ, Book of Kells
Date: C.800
Information:
Image of Satan in Special material; charcoal - extra separation, looks skeletal
Many medieval readers angry at sight of Satan; depiction disfigured (stabbed, eyes gauged etc)
Tempting Jesus/Church - Church will be triumphant - Satan isolated
Church huge, together
Size of Jesus - reassurance; power, heirarachle (jesus forms the tip of the triangle with his followers to the left and satan to the right - isolated)
A representation of mountain and temple where he was tempted can be seen in the background
Temptation reminder of human factor
Artwork: Roman Sarcophagus
Date: 400 - 500 AD
Information: More realistic/naturalistic depiction
Artwork: Arena Chapel, Arrest of Christ
Date: C. 1304-1306
Artist: Giotto
Different interpretation; appeals to more emotional audience - Jesus/Judas kiss
Artwork: Arrest of Christ, Book of Kells,
Date: C.800
Information
Jesus depicted larger than police; more powerful
Hierarchical scale
Emphasis that Jesus submits willingly
Body forms Chi (X); symbol of power and victory adopted by church at time
Body as text; visual representation of their blur between picture and text
Pose: cross-vigil; reference to Old Testament; Moses created sign before battle
Artwork: Ruthewell Cross, Anglo-Saxon
Date c.700
Medium: Stone
Latin excerpt from bible; Poem on cross “speaks”; performative
Image of woman cleaning Christ’s feet with tears
Differences from Bible story:
“God Almighty stripped himself” - not the same
Arrows; to create relations with “strong warrior” Pagans
Strength, triumph, victory traits of hero in Pagan tradition
Selling beliefs to Anglo-Saxons by making it more relatable
Portrays Jesus as divine, but blood reminder of 100% divine, 100% human; vulnerability
Artwork: The Arrest of Christ, the Book of Kells
Date: c.800
Information:
Hierarchical scale: Jesus depicted larger than police; more powerful
Emphasis that Jesus submits willingly
Body forms Chi (X); symbol of power and victory adopted by church at time, Pose: cross-vigil; reference to Old Testament; Moses created sign before battle
Body as text; visual representation of their blur between picture and text
Artwork: Matthew Portrait identified by the wings.
Left: Lindisfarne Gospel
Right: Book of Kells
Information: Note the brighter colours within the lindisfarne gospel and an attempt at perspective. In contrast Matthew is placed within a decorated space possibly an alter but with little perspective leaving a flatter tone.
Artwork: Codex Amiatinus (Ezra) -Ireland
Date: 692 - c. 700 AD
gold background, light/dark modeling
Codex was meant to be a huge Bible given to Pope in Rome, hence its Roman style
Scribe Ezra
Artwork: Lindisfarne Gospels, St. Matthew, cross-carpet page;
(Hiberno Saxon) Europe. C. 700 CE Illuminated manuscript ( ink, pigments, and gold on vellum). Bright colours and interlacing to form an elaborate cross
Artwork: Carpet page from the Lindisfarne Gospel
Medium: Tempera on Vellum
Ex: Combined Christian imagery w/ native animal-interlace style. Interlaced animals in elastic shapes, some of the patterning ends up in snake heads. contrast between solidity of cross with all of the intertwining motifs similar to the cloisonné technique. Prime example of Hiberno-Saxon Art.
Artwork: In Principio Incipit page Book of Kells
Date: 800 AD
Medium: Ink, pigments, and gold on vellum
Information: Page fully exploited the available space leaving no areas void of ornamentation. The result makes it more visually ambiguous and laborious to read; indeed, although the same monogram is used, a quick glance at both pages would suggest otherwise.
Chi Rho Page
Part of the book of Matthews. Chi Rho or (XP) are the first letters of Christs name in greek.
Is on of the earliest forms of christogram
Image is Sarcophagus with Scenes from the
Passion of Christ, c. 350. With the christogram (XP embellished)
X - greek letter for Christ
Sign of triumph for the chruch
Adopted very passionately by the church
Constantine saw it in a dream, put it on shields, won a battle, considered converting to christianity
Roman 10: perfect number 1+2+3+4
Artwork: Chi Rho Page incipit page Book of Matthew, Book of Kells (Iono, Scotland)
Date: c. 800
Medium: Ink on Vellum
Face on the end of the P is Matthew
Mice and otter; mice thought of as symbols of vice-Christ coming to save humanity from sin
angels are tere too; messengers, appear at important moments in christ’s life
The monogram of Chi Rho make reading particularly challenging. especially alongside the complex interlace.
Artwork Left: Virgin and Child,
Date: c. 800
Coptic
Artwork Right: Virgin and child, Book of Kells
Date: c.800
Information:
Mary: rough-looking, massive, scary
Child: grown man - way of conveying power; baby showing human aspect, realistically painted - wrong-looking as a baby is shown holding its own head up
Lack of “affection” between Mary and Jesus
Emphasis on Mary’s role as head/representative of the church (at the time)
Holding Jesus - not necessarily a gesture of love, but a visual representation of Jesus’ high place in the chruch
Emerged from Isis and Horus?
Artwork: The Virgin and Child Before a Firescreen
Date: c.1400 Northern Renaissance
Medium: Oil with egg tempera on oak with walnut
Naturalistic style, more intimate interaction than the coptic version or the Book of Kells
What’s a cumdach?
A book shrine/ elaborate ornamented box or case used as a reliquary to enshrine books regarded as relics of the saints who had used them.
The cumdach of the Book of Durrow (c. 877) is the earliest recorded book-shrine (lost)
Word is elaboratly portrayed and then locked away, the existance is the most important facet.
Artwork: Cumdach of Molaise
Date: 1200
Fun fact: Monks would wear relics and chant Psalms for blessing; punishment - ‘Magical’ protective qualities
Cathach of st Columba
6th century insular illumination- first use of capital lettering to indicate beginning of line. important relic used as rallying cry in battle.
Artwork: Papil Stone, Pictish
Date: 700 AD
Medium: Chisled Stoned
Might be a preaching stone, may be a gravestone
Information:
Distinctive circular crosshead
Carvings of monks and a Pictish lion.
Two “birdman” figures holding a human head between their beaks.
Differentiation in style between these carvings, suggest they were made at a different time.
Ruthwell Cross
-Anglo-Saxon 8th Century
-Christ is not the victim. His act of sacrifice is his own choice. It is like
a performative piece for he speaks to the viewer with the writing down the edges and the sculpture animates it.
Muiredach’s Cross
Monasterboice, Ireland -9/10th century - In popular culture, the shape of the ringed, high cross serves as a symbol of Ireland and ‘Celtic
spirituality’. also structural quality to support heavy arms of cross.
Christ as Judge in centre in osiris pose, flanked by musicians - the saved on his left and the damned on his right. pontius pilate on south side washing hands. adam, eve, cain and abel also seen.
Monymusk ‘reliquary’
8th Century- pictish. possibly created by Ionan monks out of wood and metal. a container for holding relics of st columba. saintly assistance to scottish army during battle.
Hilton of Cadboll Stone
9th century- class ii pictish stone. tain peninsula. national museum of scotland. sandstone relief. broken in 2 and modified from initial carving, front has the coat of arms of a later date beurocrat. back shows celtic swirls and hunting scene with people riding on horseback.
Papil Stone
7th century, possibly 8th due to rendering of lion image. in national museum of scotland. Christian celtic cross. replica can be found in churchyard of St. Laurence Church
