Romanesque Art: History, Characteristics, and Analysis of a Masterpiece
Romanesque Art (1170-1190)
A Pan-European Style
Although regional variations existed, the Romanesque style was the first international art of the Middle Ages. It transcended national and regional boundaries, reflecting the spirit of an era. Its emergence was rooted in a specific historical context: the anxieties of the first millennium, the rise of pilgrimages, and the dominance of feudalism.
The Terror of the First Millennium
Henri Focillon, in his work The Year 1000, explored the climate of fear that gripped Europe during the 10th century. Political instability (invasions by Normans, Muslims, and Hungarians) contributed to this anxiety. Religious interpretations of the Book of Revelation’s prophecy led many to believe the world would end in the year 1000.
While the world didn’t end, the year 1000 marked the beginning of a period of hardship for many. Famine and disease were widespread. Religious art experienced a revival, expressing both fear and hope. Romanesque art became filled with monstrous figures and visions of hell, reflecting the anxieties of the time.
Pilgrimages and the Rise of Monasteries
Monasteries gained prominence in the 11th century, becoming centers of pilgrimage due to the relics they housed. Along pilgrimage routes, particularly the Way of St. James to Santiago de Compostela, churches were built with common architectural features. This pilgrimage phenomenon should be seen within the broader context of journeys to Rome and Jerusalem, the Crusades, and the growing trade of the 11th century.
Romanesque Art and Feudal Society
Romanesque art is considered a manifestation of feudal society. It was not only a monastic art but also an expression of the aristocracy’s power. The clergy and nobility, who held the top positions in the social hierarchy, were the primary patrons of the arts. Monks and nobles, as landowners, commissioned most of the artwork until the 13th century.
A common spirit united churches and castles. Benedictine monasteries were built like fortresses, earning the nickname “God’s castles.”
The Worldview of the Elite
The worldview of the elite was reflected in the art of the time. For the warrior nobility who participated in the Crusades, Christ was depicted as a hero, often not even shown crucified. The Virgin Mary was portrayed as a queen, receiving homage from knights.
Analysis of a Romanesque Altarpiece
b) Romanesque Style. Author unknown. Technique: egg tempera, gilding with stucco. Support: panel. Location: MNAC
Characteristics of Romanesque Art:
- Desire to proclaim the triumph of the Christian Church.
- Predominance of religious themes, particularly stories from the Old and New Testaments.
- Tendency to fill the entire composition space (horror vacui).
- Absence of perspective; larger figures represent greater importance.
- Adaptation of figures to the architectural framework.
c) Technique:
The altarpiece is painted on poplar wood using egg tempera, with additional techniques like stucco and gilding. The figures and elements are well-defined, showing a concern for drawing and anatomy. This suggests an evolution in Romanesque painting, with a looseness not seen in earlier works.
The background colors are predominantly blue and red, contrasting with the intensity of the gilding (now mostly lost). Orange and olive green were also used. The composition is organized with large masses of color, creating a sense of balance and movement.
Composition:
The altarpiece is divided into five sections, with the central panel depicting the Virgin Mary holding the Child on her lap, framed by a trefoil arch. The figures, while hieratic, are humanized. The Child, instead of the typical static pose, leans to one side, adding dynamism to the scene. The Virgin’s posture is also softened, with one hand on the Child’s leg and the other on her heart.
The surrounding compartments depict scenes from the Virgin’s life: the Annunciation, the Visitation, the Nativity, the Epiphany, and the Presentation of Jesus in the Temple. The figures in each scene are arranged symmetrically. The compartments are separated by frames with stucco elements.
The scenes are generally closed, except for the Magi, who are directed towards the Virgin and Child. The Magi’s gesture opens the scene; the Child blesses the Annunciation and Visitation. Perspective is absent, but architectural elements and the use of color create an illusion of depth.
Style:
The figures are elongated and dressed in rich robes, reminiscent of Byzantine mosaics. Many characteristics of Romanesque painting are present: thick lines, large masses of pure color, lack of perspective and realistic depth, disregard for light, figures on the same plane against a dark background, and juxtaposed composition.
d) The Virgin as Sedes Sapientiae:
The altarpiece is dedicated to the Virgin Mary. The central panel depicts her as Sedes Sapientiae (Throne of Wisdom), symbolized by the Christ Child on her lap. The Child blesses the first scenes of the story. Notably, the Epiphany scene represents the three ages of man (youth, maturity, and old age) rather than the three races of the world, a later development.
Meaning:
The Virgin and Child in the central panel are larger than the other figures, establishing their hierarchical importance. Two angels flank them. The side panels depict scenes from Mary’s life, drawn from the Gospels of Luke and Matthew.
Function:
Altar frontals, also called antependia, served the religious function of attracting the attention of the faithful with their scenes. The altarpiece of Santa Maria d’Avià is dedicated to the Virgin Mary, depicted as the Throne of Wisdom. The Christ Child blesses the scenes of the story. The Epiphany scene uniquely represents the three ages of man.
These altarpieces were common in Catalonia but rare in other parts of Europe.