Medieval aesthetics - slide 1

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Presentation transcript:

Medieval aesthetics - slide 1 1. The iconoclastic controversy and the goals of Medieval art Pope Gregory the Great’s letter of 600 John Damascene’s statement of c.720 Empress Theodora & the restoration of images in 843 A.D. Medieval aesthetics - slide 1

Medieval aesthetics - slide 2 In this controversy, three justifications are offered for the use of religious images (1) A way of teaching (2) Enhances worship (3) The Incarnation Medieval aesthetics - slide 2

Medieval aesthetics - slide 3 Conclusions: the goals of early Medieval art were practical To teach To enhance worship 2. Byzantine mosaics & the new abstraction Founding of Constantinople in 324 Movement (for a brief time) of the capital of the Western Roman Empire to Ravenna (402-c.540) - images Medieval aesthetics - slide 3

Medieval aesthetics - slide 4 James Snyder & the new abstraction Harold Osborne’s distinction between two types of abstraction pure abstraction abstraction-in-representation Byzantine works of art are symbol systems for referring the mind and feelings to something other than the work of art--to God, the saints, moral lessons, & religious doctrine Medieval aesthetics - slide 4

Medieval aesthetics - slide 5 The idea of a work of art as a symbol system continued into the high middle ages Example: Gothic architecture Abbot Suger of Saint-Denis (1081-1151) & the rise of Gothic Suger’s rebuilding of Saint-Denis beginning in 1134 Medieval aesthetics - slide 5

Medieval aesthetics - slide 6 Influence of Dionysius the Areopagite (c.500 A.D.) The objects within the church & the entire building are symbol systems which refer the mind and emotions (whole self) to the Divine. images Medieval aesthetics - slide 6

Medieval aesthetics - slide 7 4. The Medieval reluctance to accept sensuous enjoyment of beautiful objects Augustine (354-430) Aquinas (1224-1274) 5. The social status of the artist in the Middle Ages See essay by Castelnuovo The stigma in the Middle Ages against manual labor, inherited from ancient Greece & Rome Medieval aesthetics - slide 7

Medieval aesthetics - slide 8 There was a hierarchy within the arts -- roughly architects, illuminators, & miniturists at the top - image 1 image 2 goldsmiths & glassmakers next painters & sculptors at the bottom The anonymity of most medieval artists reflects their social status Medieval aesthetics - slide 8

Medieval aesthetics - slide 9 The status of the medieval artist began to change in the 12th century Signatures of artists become more widespread reflecting the gradual “ennoblement of the artist” (234) Artists gradually break out of “the ghetto of the mechanical arts” (237) Medieval aesthetics - slide 9

Medieval aesthetics - slide 10 The role of Dante (1265-1321) in this change in the status of the artist His praise for Cimabue & Giotto frescoes from the Scrovegni chapel, Padua Medieval aesthetics - slide 10