two richly grained green marble columns H u m a n i t i e s
Provide a detailed visual analysis of your selected artwork or monument.Describe the lines, colors, shapes, patterns, light, contrast, perspective, scale, etc. in as much detail as possible to give your reader a good idea of the overall visual composition.Provide an explanation of how the medium helps to reveal its intended audience, purpose, use, and meaning for its cultural, historical, and religious context. Be sure to discuss how the materials and techniques work to accomplish specific visual effects and thematic meanings for its audience. Your explanation should answer the following questions:What is it about the usual size, placement, style, color, texture, etc. of this specific artform that helped it to deliver its intended message(s) and meaning(s) to its viewers at the time and place it was made?Who do you think would have seen this work and how would they have encountered it?Why do the visual and physical features of this specific type of media seem effective within the time and place of Early Medieval Europe?
Jesus and Peter, Gospel Book of Otto IIIIn addition to the depiction of the enthroned emperor ( FIG. 11-31 ) holding the scepter and cross-inscribed orb that signify his authority, the Gospel Book of Otto III contains many full-page paintings of episodes from the life of Christ. The page illustrated here ( 11-30A ) shows Jesus preparing to wash the feet of Saint Peter, while eight other disciples, huddled together behind Peter, await their turn. The artist’s rendition of the Gospel story is a stylistic mix of classical and Byzantine elements. Of Byzantine inspiration is the golden backdrop behind the haloed Jesus, but the Ottonian artist confined the gold to the area between two richly grained green marble columns and beneath the kind of perspective view of a palatial building characteristic of classical art. The cross-crowned building is the illuminator’s transformation of a typical Roman villa as represented on Pompeian walls into the kingdom of Heaven. In front of and beside this heavenly setting, the Gospel episode unfolds on earth beneath a blue sky.Also derived from classical art is the Ottonian painter’s depiction of the biblical figures in three-quarter view. All of them move their arms vigorously. Peter, for example, consistent with the account in the Gospel of Saint John, protests that he is unworthy to be washed by Jesus, who blesses Peter in response. Of special interest is the youthful disciple at the far right untying the laces of his left sandal to bare his feet while he twists his head to observe Jesus and Peter. The young boy has drawn back his robe to reveal his foreshortened left foot and lower leg. The painter’s skillful blending of the worldly and otherworldly domains and of classical and Byzantine styles is characteristic of many of the finest works of later Ottonian art.