Retrospection of Art History - Essay Example

and Number of the Teacher’s History of Art MUSEUM PAPER NO.2 I. MURAL ART Spanish (Catalan) Chapel, Santa Maria del Mur Christ in Majesty with Symbols of the Four Evangelists 1150-1200 Fig 1. (MFA 1, 2008) Dimensions of the artwork: 645 x 382 x 282 centimeters (253 15/16 x 150 3/8 x 111 inches.) Artist: Unidentified. Classification: Religious painting, Old and New Testaments. Display: On view in the Catalonian Chapel (MFA 1, 2008). Accession number: 21.1285 This Romanesque Spanish mural painting (Fig.1) is a fresco secco transferred to plaster and wood. Fresco is a mural painting technique that involves applying permanent limeproof pigments, diluted in water, on freshly laid lime plaster. Since the pigments are directly absorbed by the surface of the wall as the plaster dries, it is one of the most permanent painting techniques. This is known as buon fresco or ‘true’ fresco. On the other hand, ‘dry’ fresco known as fresco secco involves painting on dried lime plaster. Although the finished product visually appears the same as buon fresco, the pigments simply adhere to the surface since they are not absorbed into the wall; hence fresco secco does not have buon secco’s longevity (Gardner et al: 410). “This mural painting is among the greatest twelfth century European paintings in the United States”(MFA1, 2008). Earlier it had decorated the apse or semicircular area behind the altar of the monastery church of Santa Maria de Mur, in the foothills of the Spanish Pyrenees. The large-eyed, solemn figure of Christ, dominates the composition. He holds a book on which is inscribed reinforcing passages relating to Christ’s centralization in Christian art and doctrine, which states: “I am the way, the truth, and the life, no man cometh into the Father but by me”. All four Evangelists, who are authors of the New Testament Gospels, surround Christ. The fresco’s lower tiers contain the twelve Apostles, the original followers of Christ, and scenes from the Bible. The formality, symmetry and positioning of the figures are Byzantine, but the Spanish artist substituted Byzantine mosaic in favor of direct painting on plaster coated walls. The iconographic scheme in the semi-dome of the apse is more closely related to those of the Romanesque Church portals of France. In the fresco, Christ in a star-strewn Mandorla is flanked by the signs of the four Evangelists, which is the apocalypse theme that greatly fascinated the Romanesque imagination. Seven lamps between Christ and the Evangelist signs symbolize the seven Christian communities where St.John addressed his revelation, the Apocalypse, at the beginning of his book. Below, the apostles stand in pairs, adding to the formality of the composition. The main figures are presented with partitioning of the drapery into volumes, made to look tubular by local shading. The painter stiffened the irregular shapes of actual cloth into geometric patterns. The effect overall is one of simple, strong, and straightforward statement, reinforced by harsh, bright color, considered appropriate for a powerful icon (Gardner et al: 350). The assured and sophisticated manner of rendering the heads in a frontal manner, and the unusual stature of many of the figures produces a naturalistic effect, contributing to the effect of the Gothic style that was to soon follow. The late Romanesque style is evident in the treatment of the drapery, with a liberal use of the “flying fold” revealing a strong current of the Romanesque tradition. “But the sureness and swiftness of handling indicate that the artist was using a thoroughly integrated style” (Cook: 355). Definite documents by which the mural paintings can be accurately dated are not available, nor is anything known about the artist who executed this mural painting or the rest of the series to which this fresco belongs. Mainly because of the sophisticated handling of the human figure rather than any single distinctiveness about the drapery or the figure style, it is possible to date the mural earlier than the first half or middle of the thirteenth century (Cook: 355) II. COMPARING ART WORKS: GREEK VERSUS ROMAN SCULPTURE EXHIBIT A. Marble Version of Head of Hermes by Polykleitos (440 B.C.) Greco-Roman, Imperial Period: A.D. 100-150 Fig. 2. (MFA 2, 2008) Dimensions of the artwork (Fig.2): Height: 28 centimeters (11 inches). Medium Used: Marble from Mt. Pentelikon near Athens. Classification: Sculpture Greco-Roman, Imperial Period, about A.D. 100–150, based on a Greek 4th century prototype. Accession number: 1974.522 The sculpture is currently not on view at the Museum of Fine Arts, Boston (MFA 2, 2008). This is the marble version of an original bronze by Polykleitos of Argos, 440 B.C. EXHIBIT B. Marble Portrait of a Bald Man Roman, late Republican period, 60-30 B.C. Fig. 3. (MFA 3, 2008) Dimensions of the artwork (Fig.3): Height x length of face: 33 x 25 centimeters (13 x 10 inches) Medium Used: Marble from Dokimeion in Phrygia (present-day Turkey). Classification: Sculpture On view in the Roman Gallery Accession number: 99.343 (MFA 3., 2008) Comparison of the two marble sculptures, Exhibits A and B Exhibit A, the sculpted head of Hermes is wearing a petasos without wings. According to Greek mythology, the god Mercury and Hermes were the same, hence the latter was usually depicted with wings which are distinctive of Mercury. The broken tip of the nose, lips and chin have been restored in plaster. On the other hand, it is clear that Exhibit B, the marble portrait of a bald man continues to remain unrestored. The sculpture is almost completely devoid of a neck since very little of it is preserved, similarly most of the nose is missing, and the ears, chin, temples and right cheekbone damaged over the centuries require restoration. Secondly, another difference is that the identity of the Exhibit A. is clear, as the head of Hermes, the messenger of the gods in Greek mythology. It is a marble reproduction carried out in A.D. 100-150, of the original bronze sculpture created by the Greek sculptor Polykleitos, 440 B.C. But, the Republican-Roman marble portrait of the bald man, Exhibit B. as well as the sculptor who created the artwork, remain unidentified. Further, the youthful face and curly head of hair of Hermes contrasts with that of the old man who appears to be completely bald or has a closely shaven head. Since the back of the skull is slightly rough, it appears to have been a draped statue set in a niche or wall. “Unsparing naturalism has been used for all individual details, the ugly outline of the skull, the furrowed forehead, the swelling beneath the eyes, and the loose flesh hanging in folds and creases about the mouth and jaw” (MFA 3, 2008). The focus on detail and skilful etching of every fine line that went into the facial expression, is worth noting. Contrastingly, the face of Hermes is smooth and free from furrows. The quality of marble used for the two sculptures is seen to be different, with that used for Hermes being of a finer and smoother quality, while the marble used for the unentified bald man appears to be of a hard variety. Since the Hermes’ head sculpture is more recent as compared to that of the bald man, it is likely that the Greco-Roman sculpture is made of finer marble that was obtained from near Athens. The head of Hermes by Polykleitos is distinctive in the style of the sculptor. In addition to his high reputation and his influence, his use of theory in sculpting is worth noting. His work offers an opportunity to explore the relationship between art theory and its practical application and “thereby to develop sound criteria for interpreting the creations of not only a master sculptor, but also the epoch of which he was a representative” (Palagia & Pollitt: 69). Polykleitos gave a certain objectivity to art and a rational way of approaching the Classical Greek style. At the same time, the style used by the unknown sculptor to create the head of the bald man, shows the clear signs of the ‘veristic’ manner which was favored for middle-class portraits of the late Republic and early Empire. The features of this style of sculpting are often dry with an unflattering realism with much use of sharply cut facial creases. A slightly frowning face is accurately created, with a multitude of lines and creases, from the brows, the forehead, and the cheeks to the sagging flesh around the mouth which is down-turned at the corners. The cheeks are hollowed and there are bags under the eyes (Holbrook et al: 230). The similarities between the two sculptures include the fact that both are portrait sculptures, and depict the form accurately, reproducing all the features faithfully. Secondly, the sizes of both artworks are nearly the same, and are slightly bigger than a true to life depiction. Both portray a sober expression of the face, the bald man showing a more serious mood verging on a frown. The statues are realistically etched, and convey mood and emotion with life-like countenances. Thus, there are several differences and similarities between the Classical Greek style of the marble head of Hermes and Republican Roman style of the marble portrait of a bald man. Works Cited Cook, Walter W.S. Romanesque Spanish mural painting I. The Art Bulletin. 11.4 (1929): 327- 356. Gardner, Helen, Kleiner, Fred S. & Mamiya, Christin, J. Gardner’s art through the ages. California: Thomson Higher Education. 2006. Holbrook, Neil, Bidwell, Paul T. & Allason-Jones, Lindsay. Roman finds from Exeter. New York: Presses Universite Laval. 1991. MFA 1. (Museum of Fine Arts). Christ in majesty with symbols of the four evangelists. Museum of Fine Arts, Boston. Retrieved on 14th December, 2008 from: http://www.mfa.org/collections/search_art.asp?recview=true&id=31898&coll_keywords=&coll_accession=&coll_name=&coll_artist=&coll_place=&coll_medium=&coll_culture=&coll_classification=&coll_credit=&coll_provenance=&coll_location=&coll_has_images=&coll_on_view=&coll_sort=0&coll_sort_order=0&coll_view=0&coll_package=27208&coll_start=1 MFA 2. (Museum of Fine Arts). Head of Hermes. Museum of Fine Arts, Boston. Retrieved on 14th December, 2008 from: http://www.mfa.org/collections/search_art.asp?recview=true&id=151159&coll_keywords=&coll_accession=&coll_name=&coll_artist=&coll_place=&coll_medium=&coll_culture=&coll_classification=&coll_credit=&coll_provenance=&coll_location=&coll_has_images=&coll_on_view=&coll_sort=4&coll_sort_order=0&coll_view=0&coll_package=2350&coll_start=1 MFA 3. (Museum of Fine Arts). Portrait of a bald man. Museum of Fine Arts, Boston. Retrieved on 15th December, 2008 from: http://www.mfa.org/collections/search_art.asp?recview=true&id=151317&coll_keywords=republican+roman+sculpture&coll_accession=&coll_name=&coll_artist=&coll_place=&coll_medium=&coll_culture=&coll_classification=&coll_credit=&coll_provenance=&coll_location=&coll_has_images=&coll_on_view=&coll_sort=0&coll_sort_order=0&coll_view=0&coll_package=0&coll_start=1 Palagia, Olga & Pollitt, J.J. Personal styles in Greek sculpture. The United States of America: Cambridge University Press. Read More