Given the sample collage can you identify that different art forms of medieval,renaissance and baroque periods?
Answers
Medieval to Renaissance:
We begin by considering the production and consumption of art from the Crusades through to the period of the Catholic Reformation. The focus is on art in medieval and Renaissance Christendom, but this does not imply that Europe was insular during this period. The period witnessed the slow erosion of the crusader states in the Holy Land, finally relinquished in 1291, and of the Greek Byzantine world until Constantinople fell to the Ottomans in 1453. Columbus made his voyage to the Americas in 1492. Medieval Christendom was well aware of its neighbors. Trade, diplomacy, and conquest connected Christendom to the wider world, which in turn had an impact on art.
Art, Visual Culture, and Skill:
The term ‘visual culture’ is used here in preference to ‘art’ for the fundamental reason that the arts before 1600 were wide-ranging, including media today that we might deem within the realm of craft and not fine art. The Latin word ‘ars’ signified skilled work; it did not mean art as we might understand it today, but a craft activity demanding a high level of technical ability, including tapestry weaving, goldsmith’s work, and embroidery. Literary statements of what constituted the arts during the medieval period are rare, particularly in northern Europe, but proliferate in the Renaissance.
Medieval and Renaissance Visual Culture:
The term ‘visual culture’ is also used for a second reason that is less to do with definition than with method. Including the various arts under the umbrella of ‘visual culture’ implies their inseparability from the visual rhetoric of power on the one hand, and the material culture of a society on the other. Before 1500 art was primarily part of the persuasive power and cultural identity of the church, ruler, city, institution, or the wealthy patron commissioning the artwork. In this sense, art might be considered alongside ceremonies, for example, as strategies conveying social meaning or magnificence, or as a demonstration of wealth and power by the patron commissioning the artwork to be made.
Artistic Quality:
The fact that a work of art had a function did not mean that artistic quality was a matter of indifference. Some artists’ guilds, such as the painters’ guild of Tournai, south of Brussels, required candidates to submit a ‘masterpiece’ for examination by the guild in order to win the status of master. Those scrutinizing the masterpieces must have had a clear idea of the criteria of quality they were hoping for, even if these criteria were never set down in writing.
Artists and Patrons:
Famously, in 1516, the renowned Renaissance artist Leonardo da Vinci (1452–1519) was invited to the French court of Francis I (ruled 1515–47), perhaps not so much for the work that he might produce at what was then an advanced age, as out of admiration and presumably for the prestige that the presence of such a renowned figure might endow on the French court. The advancement of artistic status is often associated with princely employment, for example by Martin Warnke in his seminal study of the court artist (Warnke, 1993, pp. 33–45).
Patterns of Artistic Employment: Workshop, Guild, and Court Employment:
The pattern of artistic employment in the medieval period and the Renaissance varied. Traditionally, craftsmen working on great churches would be employed in workshops on site, albeit often for some length of time; during the course of their career, such craftsmen might move several times from one project to another. Many other artists moved around in search of new opportunities of employment, even to the extent of accompanying a crusade. Artists working for European courts might travel extensively as well, not just within a country but from country to country and court to court: El Greco (1541–1614) moved between three different countries before finding employment not at the royal court in Spain but in the city of Toledo