There are many ways of thinking about the history of art. Although it can be understood in terms of artists’ biographies and stylistic development, this only illustrates one strand of potential interest; it is only one of the stories we can tell.This course explores different themes, each representing an alternative approach to understanding art produced during the period 1250-1400. It introduces a wide variety of programmes of artistic patronage over the period in question, discussing the ways in which artists’ contributions and individual commissions led to transformations in style and iconographic content.
1 - Overview
During the High Middle Ages, many cities began to assert their autonomy and new models of government evolved. Increased urbanisation led to a rise in art patronage: vast cathedrals were built to accommodate increasing populations and large numbers of works of art were commissioned for the decoration of churches, as well as for private devotion. The emergence of a growing literate elite led to a demand for precious objects for the home, such as ivories and illuminated manuscripts.
In this session, we will look at the context in which art patronage evolved, with particular reference to the emergence of the mendicant orders, notably the Franciscans, as well as the predominant Byzantine style of the 1200s and early 1300s and the influence of non-Western culture on Marian iconography, such as the cult of the Black Madonna.
The 1300s was the Golden Age of Sienese painting. Its leading artist Duccio di Buoninsegna was one of the most innovative and influential figures in Western art, introducing a new naturalism and interest in space, structure and emotion, which would bridge the gap between the Byzantine idiom and a new, modern style. In 1311 he completed the City’s most famous altarpiece, the 'Maestà', for Siena Cathedral and a number of its panels can now be found in the National Gallery.
In the second half of the session we will enjoy a private, virtual visit to the art studio of Marco Caratelli in Siena. Marco specialises in replicating the work of the great Sienese masters such as Duccio and Lorenzetti. He will demonstrate some of the techniques they employed, as described in Cennino Cennini's practical treatise, 'Il libro dell'arte’, published over 600 years ago. In order to do so, Marco will reproduce the National Gallery’s ‘Virgin and Child with Four Angels’, attributed to Duccio’s most important follower, Ugolino di Nerio.
3 - Symbols
Our third session looks at iconography and the language of symbolism. How can one decipher a painting’s meaning by reading its symbols, how did these conventions originate and how could they be employed or tailored to suit a specific commission?
After the break we are joined by guest lecturer Paul Binski, Emeritus Professor of the History of Medieval Art at the University of Cambridge. The art of medieval courts has always been regarded as being at the forefront of artistic change and quality, from France and England to Burgundy and Iberia. What was it that made court art special? Was there such a thing? How important were the international links that grew up between courts in virtue of marriage and politics? Were there specific courts styles and artists? This lecture will take in a broad panorama of the arts to consider some of these questions, in all artistic media.
Most of the works commissioned during the Medieval and early Renaissance period were designed for worship and yet very few of them remain in their original location, calling into question how we can interpret and view these works within a museum context. We discuss the questions of why so many paintings during the period were dismembered and why so many fragments are located in British collections, including the National Gallery.
After the break we will be joined by Harriet O’Neill who will discuss how some of these panels were reframed in the 19th century, by and on behalf of the National Gallery. She will show that reframing was a means of refashioning panels for a new display context, changing how they were read as objects.
5 - Plague and patronage
In part one of this session, we explore how the Black Death, which swept across Europe from 1347, impacted the production and patronage of art. Seen as a punishment from God, this devastating global epidemic led to a proliferation of images dedicated to intercessory saints such as Sebastian, traditionally invoked against the plague, and increasing numbers of art works or monuments designed to attain salvation after death.
In part two, we will go beneath the surface and explore what cannot be seen with the naked eye, determining how technologies available to the National Gallery’s scientists can enhance our understanding of the collection. Our guest lecturer is Rachel Billinge, Research Associate in the National Gallery's Conservation Department. Rachel will discuss her recent technical investigation of ‘The Wilton Diptych’, explaining what she has discovered about the creation of this exquisite masterpiece.
6 - Women
When we study the various works of art produced during the period, nearly all of them seem to have been commissioned and paid for by men. Yet in more recent years historians have found more evidence of women acting independently. What kinds of women were able to transgress gender boundaries and commission works of art? How were women depicted in paintings of the period, and what does this tell us about their place in society?
After the break we are joined by guest lecturer Alixe Bovey, Professor of Medieval Art History and Dean and Deputy Director of The Courtauld. Her lecture 'Damsels: In Distress?' focuses on narratives from the Bible, medieval saints’ lives, and romances, considering how women are depicted in medieval visual stories. How did medieval artists use clothing, hair, and gesture to describe the character and predicament of female protagonists? Using a series of examples mainly drawn from illuminated manuscripts and stained glass, we will explore a wide range of female protagonists, and consider how medieval artists used the fabled ‘damsel in distress’ to evoke sympathy but also as a vehicle for critique and satire. We will also consider what can we learn about female makers, viewers and patrons from these images.
