How has the artist rejected the classical Roman influence?, homework help

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Humanities

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Read the Broader Look: The Lindisfarne Gospels (pg. 436-437) and look at the painting of Matthew from the Lindisfarne Gospels (15-7).  How do we know the artist was looking at a Roman model?  At the same time, how has the artist rejected the classical Roman influence?


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A BROADER LOOK | The Lindisfarne Gospels also framed, subsumed, and surrounded by a proliferation of the decorative forms, ultimately deriving from barbarian visual traditions, that we have already seen moving from jewelry into books in the Durrow Gospels (see Fig. 15-5) and the Book of Kells (see FIG. 15–1). But the paintings in the Lindisfarne Gospels document more than the developing sophistication of an abstract artistic tradition. Roman influence is evident here as well. Instead of beginning each Gospel with a symbol of its author, the designer of this book introduced portraits of the evangelists writing their texts, drawing on a Roman tradition (see FIG. 15-7). The monastic library at Wearmouth- Jarrow, not far from Lindisfarne, is known to have had a collection of Roman books, and an author portrait in one of them seems to have provided the model for an artist there, who portrayed EZRA RESTORING THE SACRED This painter worked to emulate the illusionistic SCRIPTURES within a huge Bible (FIG. 15-8). traditions of the Greco-Roman world. Ezra is a modeled, three-dimensional form, sitting on a ihsxps. Matheus homo em) grpelles Taprt euangeli Genelogia mathe The LINDISFARNE GOSPEL BOOK is one of the most extraordinary manuscripts ever created, admired for the astonishing beauty of its words and pictures (FIGS. 15-6, 15-7; see also “A Closer Look,” page XXX, FIG. A), but also notable for the wealth of information we have about its history. Two and a half centuries after it was made, a priest named Aldred added a colophon to the book, outlining with rare precision its history, as he knew it—that it was written by Eadfrith, bishop of Lindisfarne (698- 721), and bound by Ethelwald, his successor. Producing this stupendous work of art was an expensive and laborious proposition—requiring 300 calfskins to make the vellum and using pigments imported from as far away as the Himalayas for the decoration. Preliminary outlines were made for each of the pictures, using compasses, dividers, and straight edges to produce precise under-drawings with a sharp point of silver or lead, forerunner to our pencils. The full pages of ornament set within cross-shape frameworks (see example in the Introduction) are breathtakingly complex, like visual puzzles that require patient and extended viewing. Hybrid animal forms tangle in acrobatic interlacing, disciplined by strict symmetry and sharp framing. Some have speculated that members of the religious community at Lindisfarne might have deciphered the patterns as a spiritual exercise. But principally the book was carried in processions and displayed on the altar, not shelved in the library to be consulted as a part of intellectual life. The text is heavily ornamented and abbreviated, difficult to read. The words that begin the Gospel of Matthew (see FIG. 15-6)- Liber generationis ihu xpi filii david filii abraham ("The book of the generation of Jesus Christ, son of David, son of Abraham”)-are jammed together, even stacked on top of each other. They are th 11% Litut 11 yete ER CHERA QUIXIHU XBIAWDIOPIAR harlen um RE unti wby.ch 71 LINDISFARNE GOSPEL BOOK 15-6 PAGE WITH THE BEGINNING OF THE TEXT OF MATTHEW'S GOSPEL, Lindisfarne. c. 715-720. Ink and tempera on vellum, 133/8" X 9716" (34 x 24 cm). The British the Latin text, added here in the middle of the tenth century by the same Aldred who added the The words written in the right margin, just beside the frame, are an Old English gloss translating Library, London. Cotton MS. Nero D.IV, fol. 277 colophon. They represent the earliest surviving English text of the Gospels. 136 CHAPTER 15 EARLY MEDIFY
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