Romanesque art
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| The study of [[medieval art]] began in the early nineteenth century when historians, following their peers in the natural sciences in an effort to classify their field of inquiry, coined the term "Romanesque" to encompass the western European artistic production, especially the architecture, of the 11th and 12th centuries. The term is both useful and misleading. Medieval sculptors and architects of southern [[France]] and [[Spain]] had firsthand knowledge of the many Roman monuments in the region, lending legitimacy to the term "Romanesque." However, "Romanesque Art" is not a return to [[Classical antiquity|classical]] ideals. Rather, this style is marked by a renewed interest in Roman construction techniques. The twelfth-century capitals from the cloister of [[Saint-Guilhem-le-Désert]], for example, adopt the acanthus-leaf motif and the decorative use of drill holes, which were commonly found on Roman monuments. Likewise, the contemporary apse of [[Fuentidueña]] uses the [[barrel vault]], widely used in [[Roman architecture]]. | The study of [[medieval art]] began in the early nineteenth century when historians, following their peers in the natural sciences in an effort to classify their field of inquiry, coined the term "Romanesque" to encompass the western European artistic production, especially the architecture, of the 11th and 12th centuries. The term is both useful and misleading. Medieval sculptors and architects of southern [[France]] and [[Spain]] had firsthand knowledge of the many Roman monuments in the region, lending legitimacy to the term "Romanesque." However, "Romanesque Art" is not a return to [[Classical antiquity|classical]] ideals. Rather, this style is marked by a renewed interest in Roman construction techniques. The twelfth-century capitals from the cloister of [[Saint-Guilhem-le-Désert]], for example, adopt the acanthus-leaf motif and the decorative use of drill holes, which were commonly found on Roman monuments. Likewise, the contemporary apse of [[Fuentidueña]] uses the [[barrel vault]], widely used in [[Roman architecture]]. | ||
| While emphasizing the dependence on "Roman art," the label ignores the two other formative influences on Romanesque art, the [[Insular style]] of Northern Europe and [[Byzantine Art]], nor does it do justice to the innovative nature of Romanesque art. | While emphasizing the dependence on "Roman art," the label ignores the two other formative influences on Romanesque art, the [[Insular style]] of Northern Europe and [[Byzantine Art]], nor does it do justice to the innovative nature of Romanesque art. | ||
| + | == See also == | ||
| + | * [[Romanesque architecture]] | ||
| + | ** [[Regional characteristics of Romanesque architecture]] | ||
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Romanesque art refers to the art of Western Europe from approximately 1000 AD to the rise of the Gothic style, which rose in the 13th century or later, depending on region. The study of medieval art began in the early nineteenth century when historians, following their peers in the natural sciences in an effort to classify their field of inquiry, coined the term "Romanesque" to encompass the western European artistic production, especially the architecture, of the 11th and 12th centuries. The term is both useful and misleading. Medieval sculptors and architects of southern France and Spain had firsthand knowledge of the many Roman monuments in the region, lending legitimacy to the term "Romanesque." However, "Romanesque Art" is not a return to classical ideals. Rather, this style is marked by a renewed interest in Roman construction techniques. The twelfth-century capitals from the cloister of Saint-Guilhem-le-Désert, for example, adopt the acanthus-leaf motif and the decorative use of drill holes, which were commonly found on Roman monuments. Likewise, the contemporary apse of Fuentidueña uses the barrel vault, widely used in Roman architecture. While emphasizing the dependence on "Roman art," the label ignores the two other formative influences on Romanesque art, the Insular style of Northern Europe and Byzantine Art, nor does it do justice to the innovative nature of Romanesque art.
See also
