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after the decline of the 9th century carolingian empire the holy roman empire was re established under the saxon ottonian dynasty from this emerged a renewed faith in the idea of empire and a reformed church creating a period of heightened cultural and artistic fervour in this atmosphere masterpieces were created that fused the traditions from which ottonian artists derived their inspiration models of late antique carolingian and byzantine origin surviving ottonian art is very largely religious in the form of illuminated manuscripts and metalwork and was produced in a small number of centres for a narrow range of patrons in the circle of the imperial court as well as for important figures in the church however much of it was designed for display to a wider public especially to pilgrims 132 the style is generally grand and heavy sometimes to excess and initially less sophisticated than the carolingian equivalents with less direct influence from byzantine art and less understanding of its classical models but around 1000 a striking intensity and expressiveness emerge in many works as a solemn monumentality is combined with a vibrant inwardness an unworldly visionary quality with sharp attention to actuality surface patterns of flowing lines and rich bright colours with passionate emotionalism 133 romanesque edit main article romanesque art the romanesque the first pan european style to emerge after the roman empire spanned the mid tenth century to the thirteenth the period saw a resurgence of monumental stone structures with complex structural programmes romanesque churches are characterized by rigid articulation and geometric clarity incorporated into a unified volumetric whole the architecture is austere but enlivened by decorative sculpting of capitals and portals as well as frescoed interiors geometric and foliate patterning gives way to increasingly three dimensional figurative sculpture st michael s church hildesheim germany 1001 1030 is seen by some as a proto romanesque church 134 need quotation to verify from the mid eleventh to the early thirteenth centuries romanesque paintings were two dimensional defined by bold linear outlines and geometry particularly in the handling of drapery painters emphasised symmetry and frontality virtually all western churches were painted but probably only a few wall painters were monks instead itinerant artists carried out most of this work basic blocking out was done on wet plaster with earth colours a limited palette dominated by white red yellow ochres and azure was employed for maximum visual effect with dense colouring forming a backdrop of bands a practice that originated in late classical art as an attempt to distinguish earth and sky during the later eleventh and twelfth centuries the great age of western monasticism europe experienced unprecedented economic social and political change leading to burgeoning wealth among landowners including monasteries there was increasing demand for books and economic wealth encouraged the production of richly illuminated manuscripts one of the outstanding artefacts of the age is the 70 m long bayeux tapestry 135 136 137 it depicts the events leading up to the norman conquest of england with protagonists william duke of normandy and harold earl of wessex later king of england and culminating in the battle of hastings of 1066 it is thought to date from the 11th century it tells the story from the point of view of the conquering normans but is now agreed to have been made in england most likely by women although the designer is unknown it is housed in france holy face 904 1018 wood with polychromy height 2 9 m sansepolcro cathedral sansepolcro italy 138 speyer cathedral speyer germany 1030 1106 139 maria laach abbey rhineland palatinate germany 1093 1230 140 head of pope alexander 1145 wood silver gilt bronze gems pearls and champlevé enamel height c 45 cm art history museum brussels belgium 141 the stoning of saint stephen 1160s fresco height 1 3 m saint john abbey val müstair canton of grisons switzerland 142 gothic edit main article gothic art gothic art developed in northern france out of romanesque in the 12th century ad and led by the concurrent development of gothic architecture it spread to all of western europe and much of southern and central europe never quite effacing more classical styles in italy in the late 14th century the sophisticated court style of international gothic developed which continued to evolve until the late 15th century brick gothic was a specific style of gothic architecture common in northeast and central europe especially in the regions in and around the baltic sea which do not have resources of standing rock the buildings are essentially built using bricks the imposing gothic cathedrals with their sculptural programmes and stained glass windows epitomize the gothic style 143 it differs from romanesque through its rib shaped vaults and the use of ogives instead of the thick romanesque walls gothic buildings are thin and tall spiral stairs in towers are specific to gothic architecture 144 gothic painting much of it executed in tempera and later oils on panel as well as fresco and with an increasingly broad palette of secondary colours is generally seen as more naturalistic than romanesque the humanity of religious narrative was highlighted and the emotional state of the characters individualized 145 the increased urbanity of the medieval economy and the rise of the clerical and lay patron saw a change in the nature of the art market which can be seen in developments in gothic manuscript illumination workshops employed specialists for different elements of the page such as figures or marginal vine motifs 146 north transept windows c 1230 1235 stained glass diameter rose window 10 2 m chartres cathedral chartres france 147 the sainte chapelle paris 1243 1248 by pierre de montreuil 148 ekkehard and uta attributed to the master of namburg 1245 1260 limestone and polychromy height c 1 9 m naumburg cathedral naumburg germany 149 arrest of christ and annunciation of the virgin by jean pucelle 1324 1328 grisaille and temprea on vellum 8 9 x 12 4 cm metropolitan museum of art new york city 146 the wilton diptych c 1395 1459 tempera and gold on panel 53 37 cm national gallery london 145 st mary s church 1265 1352 in lübeck germany town hall and st nicholas church in stralsund from around 1250 to 1400 germany brick gothic with some decoration of stone old st john s hospital 13th to 15th century in bruges belgium renaissance edit main article renaissance art encompassing early northern and high renaissance the term renaissance describes the rebirth in europe of a new interest for classical antiquity for the first time since antiquity art became convincingly lifelike besides the ancient past renaissance artists also studied nature understanding the human body animals plants space perspective and the qualities of light the most common theme were religious subjects but depictions of mythological stories were produced as well also there was no uniform renaissance style each artist developed their own distinct visual language influenced by their predecessors and contemporaries the early renaissance was a period of great creative and intellectual activity when artists broke away completely from the parameters of byzantine art it is generally accepted that it started in florence in present day italy in the early 15th century it is characterized by a surge of interest in classical literature philosophy and art the growth of commerce the discovery of new continents and new inventions there was a revival of interest in the art and literature of ancient rome and the study of ancient greek and latin texts instigated concepts of individualism and reason which became known as humanism humanists considered life in the present and emphasized the importance of individual thought which affected artists approaches despite being highly associated with italy particularly with florence rome and venice the rest of western europe participated to the renaissance as well 150 the northern renaissance occurred in europe north of the alps from the early 15th century following a period of artistic cross fertilization between north and south known as international gothic there was a big difference between the northern and italian renaissance the north artists did not seek to revive the values of ancient greece and rome like the italians while in the south italian artists and patrons were amazed by the empirical study of nature and the human society and by the deep colors that northern artists could achieve in the newly developed medium of oil paint the protestant reformation increased the northern interest in secular painting like portraits or landscapes two key northern artists are hieronymus bosch known for his surreal paintings filled with hybrid creatures like the garden of earthly delights and albrecht dürer who brought the new art of printmaking to a new level the high renaissance took place in the late 15th early 16th centuries and was influenced by the fact that as papal power stabilized in rome several popes commissioned art and architecture determined to recreate the city s former glory raphael and michelangelo produced vast and grandiose projects for the popes the most famous artwork of this part of the renaissance is probably the ceiling of the sistine chapel mannerism broke away from high renaissance ideals of harmony and a rational approach to art to embrace exaggerated forms elongated proportions and more vibrant colors it developed in italy between 1510 and 1520 among artists who prized originality above all the name of this movement comes from the italian maniera meaning style or manner the word was meant to describe the standard of excellence achieved during the high renaissance to which all art should now adhere but in practice it led to stylization and art to show art sometimes with great success an example being raphael s pupil giulio romano mannerism has also been used more generally to describe a period following the renaissance and preceding the baroque 151 the florence cathedral florence italy 1294 1436 by arnolfo di cambio filippo brunelleschi and emilio de fabris 152 crucifix by giotto c 1300 tempera on panel 5 78 x 4 06 m santa maria novella florence italy 153 arnolfini portrait by jan van eyck 1434 oil on panel 82 2 x 60 cm national gallery london 154 david by donatello c 1460s bronze height 1 6 m bargello florence 155 saint george and the dragon by paolo uccello c 1470 oil on canvas 55 6 x 74 2 cm national gallery london 156 primavera by sandro botticelli c 1478 tempera on panel 2 x 3 1 m uffizi gallery florence 157 the tempietto san pietro in montorio rome 1502 by donato bramante 158 mona lisa by leonardo da vinci c 1503 1519 oil on poplar panel 77 53 cm louvre 159 the garden of earthly delights by hieronymus bosch c 1504 oil on panel 2 2 x 1 95 m museo del prado madrid spain 160 sistine chapel ceiling by michelangelo 1508 1512 fresco 13 7 x 39 m sistine chapel vatican city 161 the school of athens by raphael 1509 1510 fresco 5 8 x 8 2 m apostolic palace vatican city 162 the rhinoceros by albrecht dürer 1515 woodcut 23 5 29 8 cm national gallery of art washington d c us château d azay le rideau loire france 1518 1527 163 the tower of babel by pieter bruegel the elder 1563 oil on panel 1 14 x 1 55 m kunsthistorisches museum vienna austria 164 cupboard c 1580 walnut and oak partially gilded and painted height 2 06 m width 1 50 m louvre 165 the augsburg town hall augsburg germany 1615 1624 by elias holl baroque edit main article baroque see also louis xiv style the palace of versailles versailles france one of the most iconic baroque buildings c 1660 1715 by louis le vau and jules hardouin mansart the marble court the salon d hercule the royal chapel the hall of mirrors the gardens the 17th century was a period of volatile change both in science through inventions and developments such as the telescope or the microscope and in religion as the catholic counter reformation contested the growing popularity of protestant faith after the protestant reformation the catholic church reacted with the counter reformation decreeing that art should inspire viewers with passionate religious themes succeeding mannerism and developing as a result of religious tensions across europe baroque art emerged in the late 16th century the name may derive from barocco the portuguese word for misshaped pearl and it describes art that combined emotion dynamism and drama with powerful color realism and strong tonal contrasts between 1545 and 1563 at the council of trent it was decided that religious art must encourage piety realism and accuracy and by attracting viewers attention and empathy glorify the catholic church and strengthen the image of catholicism in the next century the radical new styles of baroque art both embraced and developed high renaissance models and broke new ground both in religious art and in new varieties of secular art above all landscape the baroque and its late variant the rococo were the first truly global styles in the arts dominating more than two centuries of art and architecture in europe latin america and beyond from circa 1580 to circa 1750 born in the painting studios of bologna and rome in the 1580s and 1590s and in roman sculptural and architectural ateliers in the second and third decades of the 17th century the baroque spread swiftly throughout italy spain and portugal flanders france the netherlands england scandinavia and russia as well as to central and eastern european centres from munich germany to vilnius lithuania the portuguese spanish and french empires and the dutch trading network had a leading role in spreading the two styles into the americas and colonial africa and asia to places such as lima mozambique goa and the philippines just like paintings and sculptures baroque cathedrals and palaces are characterised by the use of illusion and drama as well they also frequently use dramatic effects of light and shade and have sumptuous highly decorated interiors that blurred the boundaries between architecture painting and sculpture another important characteristic of baroque architecture was the presence of dynamism done through curves solomonic columns and ovals in france baroque is synonymous with the reign of louis xiv between 1643 and 1715 since multiple monumental buildings were built in paris versailles and other parts of france during his rule such as the palace of versailles the château de maisons the château de vaux le vicomte the louvre colonnade or the dôme des invalides besides the building itself the space where it was placed has a role too baroque buildings try to seize viewers attention and to dominate their surroundings whether on a small scale such as the san carlo alle quattro fontane in rome or on a massive one like the new facade of the santiago de compostela cathedral design...
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