Social conditions contributing to the advent of art in the middle ages

The Battle of Otterburn in a miniature from Jean FroissartChroniques In the Early Middle Ages, war on land was characterised by the use of small war-bands of household troops often engaging in raids and low level warfare. The birlinnwhich developed from the longship, became a major factor in warfare in the Highlands and Islands. Christianity in Medieval Scotland St Margaret of Scotlandcredited with the reform of Scottish monasticism, from a later genealogy Christianity was probably introduced to what is now lowland Scotland from Roman soldiers stationed in the north of the province of Britannia. These missions tended to found monastic institutions and collegiate churches that served large areas.

Social conditions contributing to the advent of art in the middle ages

The Middle Ages in Europe saw a decrease in prosperity, stability, and population in the first centuries of the period—to about AD, and then a fairly steady and general increase until the massive setback of the Black Death aroundwhich is estimated to have killed at least a third of the overall population in Europe, with generally higher rates in the south and lower in the north.

Many regions did not regain their former population levels until the 17th century.

In the United States

The population of Europe is estimated to have reached a low point of about 18 million into have doubled around the yearand to have reached over 70 million byjust before the Black Death. In it was still only 50 million.

To these figures, Northern Europe, especially Britain, contributed a lower proportion than today, and Southern Europe, including France, a higher one. Until about the 11th century most of Europe was short of agricultural labour, with large amounts of unused land, and the Medieval Warm Period benefited agriculture until about The medieval period eventually saw the falling away of the invasions and incursions from outside the area that characterized the first millennium.

The Islamic conquests of the 6th and 7th century suddenly and permanently removed all of North Africa from the Western world, and over the rest of the period Islamic peoples gradually took over the Byzantine Empireuntil the end of the Middle Ages when Catholic Europe, having regained the Iberian peninsula in the southwest, was once again under Muslim threat from the southeast.

At the start of the medieval period most significant works of art were very rare and costly objects associated with secular elites, monasteries or major churches and, if religious, largely produced by monks. By the end of the Middle Ages works of considerable artistic interest could be found in small villages and significant numbers of bourgeois homes in towns, and their production was in many places an important local industry, with artists from the clergy now the exception.

However the Rule of St Benedict permitted the sale of works of art by monasteries, and it is clear that throughout the period monks might produce art, including secular works, commercially for a lay market, and monasteries would equally hire lay specialists where necessary.

This is far from the case; though the church became very wealthy over the Middle Ages and was prepared at times to spend lavishly on art, there was also much secular art of equivalent quality which has suffered from a far higher rate of wear and tear, loss and destruction.

The Middle Ages generally lacked the concept of preserving older works for their artistic merit, as opposed to their association with a saint or founder figure, and the following periods of the Renaissance and Baroque tended to disparage medieval art.

Most luxury illuminated manuscripts of the Early Middle Ages had lavish treasure binding book-covers in precious metal, ivory and jewels; the re-bound pages and ivory reliefs for the covers have survived in far greater numbers than complete covers, which have mostly been stripped off for their valuable materials at some point.

The jewelled cover of the Codex Aureus of St. Most churches have been rebuilt, often several times, but medieval palaces and large houses have been lost at a far greater rate, which is also true of their fittings and decoration.

In England, churches survive largely intact from every century since the 7th, and in considerable numbers for the later ones—the city of Norwich alone has 40 medieval churches—but of the dozens of royal palaces none survive from earlier than the 11th century, and only a handful of remnants from the rest of the period.

Many of the longest running scholarly disputes over the date and origin of individual works relate to secular pieces, because they are so much rarer - the Anglo-Saxon Fuller Brooch was refused by the British Museum as an implausible fake, and small free-standing secular bronze sculptures are so rare that the date, origin and even authenticity of both of the two best examples has been argued over for decades.

Gold was used for objects for churches and palaces, personal jewellery and the fittings of clothes, and—fixed to the back of glass tesserae —as a solid background for mosaicsor applied as gold leaf to miniatures in manuscripts and panel paintings. Many objects using precious metals were made in the knowledge that their bullion value might be realized at a future point—only near the end of the period could money be invested other than in real estateexcept at great risk or by committing usury.

The even more expensive pigment ultramarinemade from ground lapis lazuli obtainable only from Afghanistanwas used lavishly in the Gothic period, more often for the traditional blue outer mantle of the Virgin Mary than for skies.

Ivoryoften painted, was an important material until the very end of the period, well illustrating the shift in luxury art to secular works; at the beginning of the period most uses were shifting from consular diptychs to religious objects such as book-covers, reliquaries and croziersbut in the Gothic period secular mirror-cases, caskets and decorated combs become common among the well-off.

Social conditions contributing to the advent of art in the middle ages

As thin ivory panels carved in relief could rarely be recycled for another work, the number of survivals is relatively high—the same is true of manuscript pages, although these were often re-cycled by scraping, whereupon they become palimpsests.

Even these basic materials were costly: Modern dendrochronology has revealed that most of the oak for panels used in Early Netherlandish painting of the 15th century was felled in the Vistula basin in Poland, from where it was shipped down the river and across the Baltic and North Seas to Flemish ports, before being seasoned for several years.

The period of the Middle Ages neither begins nor ends neatly at any particular date, nor at the same time in all regions, and the same is true for the major phases of art within the period.Middle Ages Art Conclusion The Middle Ages were a period that lasted for almost a thousand years, and given the vast span of time and varied cultures throughout Europe, medieval art reflects this variety to a certain extent.

Significant Energy E vents in Earth's and Life's History as of Energy Event. Timeframe. Significance. Nuclear fusion begins in the Sun. c. billion years ago (“bya”) Provides the power for all of Earth's geophysical, geochemical, and ecological systems, with .

IWC1 The art of renaissance and the middle ages 1. Describe the earlier period. Your description should include the characteristics of the style, and social conditions that may have contributed to the advent of this style. Middle Ages Art Art during the Middle Ages saw many changes and the emergence of the early Renaissance period.

Byzantine Art was the name given to the style of art used in very early Middle Ages Art. The medieval art of the Western world covers a vast scope of time and place, Art in the Middle Ages is a broad subject and art historians traditionally divide it in several large-scale phases, styles or periods.

were produced in similar conditions. During the Middle Ages, the influence of Christianity was much more obvious. During that time, the art and architecture were primarily religious in nature. The calendar was the Church calendar whose holidays (holy days) were those of the Christian faith.

The other factor contributing to the decline of the early medieval state was the.

The Art of Devotion in the Middle Ages (Getty Center Exhibitions)