The abstract characteristics of Germanic art prior to this work are now relegated to supporting positions and in the midst of the geometric designs and patterns is the figure of St. Mark, preacher of the Gospel of Jesus Christ. The Germanic tribes have thus submitted themselves to the religious and political doctrine of both the Church and its anointed emperor in Charlemagne.
The Carolingian Renaissance followed the unification of France and Germany under the rule of Charlemagne. Charlemagne was himself a kind of vassal of the Pope, being crowned Holy Roman Emperor by the pontiff on Christmas Day in 800 AD (Haaren 103). Charlemagne devoted himself to developing architecture and schools that would teach his subjects in the way of Christian morality. This was similar to the Macedonian Renaissance, which preceded the Great Schism of 1054 and cleaved the Church into two branches -- the Roman and the Byzantine. The Macedonian Renaissance was centered in Byzantium, and its "progress did not lie in any major expansion of the educated class in Constantinople" but rather in the development of an elite corps of civil and religious servants who produced some fine volumes concerning the Classics of Greek antiquity (Treadgold 88). Unlike Charlemagne, whose objective was to invite all subjects to partake of learning, the Macedonian Renaissance was class centered. This may be because of the particular Byzantine culture. Under Charlemagne, however, education was promoted and the finest educators were invited to Aachen, where the Emperor held his court, to develop a curriculum.
Alfred the Great King of Wessex was another Germanic leader who was reared on the Germanic Christian art -- which undoubtedly formed him in his early years and led him towards a kind of piety. As Vernon Staley states, "Alfred the Great defended [England] against the heathen Danes, till they too were received into the bosom of the Church" (p. iii). Indeed, Alfred displayed a knack for intelligence and virtue at an early age and became an avid reader, mesmerized by the kind of illuminated manuscripts the monks and Germanic craftsmen were producing at the time. These artworks certainly influenced him to devote his life to the Church: "While still very young Alfred was sent by his father to Rome to be anointed by His Holiness, the Pope…With imposing, solemn ceremony he was...
The artworks prevalent during the early Middle Ages in many ways stand between these two extremes. The art of this period was one that was both religiously inclined but also celebrated the human form and human nature that was to become so prominent in the Renaissance. In many ways much of early Medieval art was similar to the abstract and decorative art that we find in Islamic examples. An example
The rococo was aimed towards the French court and nobles. The main message was not a religious one, but aimed the upper classes and focused on their lives, houses and celebrations. In France this style gave way to the austere neoclassic style at the end of the xviii century and disappeared with the French revolution in 1978, suddenly and completely. Neoclassicism appeared as a return to the classical ideology in
Total Work of Art: Charles Renee Mackintosh Born on June 7, 1868, in Glasgow, Mackintosh, worked as an apprentice under one of the local architects named John Hutchison, however, he changed to the more stable and established Honeyman and Keppie city practice in 1889. As a way of complementing his architectural apprenticeship, Mackintosh got enrolled into evening classes at the school of art in Glasgow, where he partook in a number
In conclusion, practically everything connected to French culture and society, whether of ancient or modern origins, is protected, promoted and endorsed by the Minister of Culture, part of the French government and operated by a single cabinet member. Some of the areas included in this entity are museums, national monuments, the visual arts (movies and TV), the theatre, music, dance, architecture, literature and the French National Archives, similar to America's
Lessons Plans for Teaching Baroque Artwork Lesson Plan 1: Overview of Baroque Style Painting Lesson Part Teacher Activity Description Student Activity Description Instruction Inquiry: A description of the learning activity and its objectives will be provided. Teacher introduces the Baroque style of painting and describes the historical period in which it was most influential (early 16th century through the early 18th century) (Engel, 2012). For instance, according to Engel, "Baroque was generated when Italian art,
art historian W.J.T. Mitchell asserted that there is no doubt that the classical and romantic genres of landscape painting evolved during the great age of European imperialism but have since been retired, accepted as part of the common repertory of kitsch. In their induction in the quotidian consciousness of art, the seemingly simple representations provided by landscape paintings garnered acclaim for their ability to explore a dual metaphoric and physical
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