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Chapter 4

by: JoAnne Maloney

Chapter 4 ARTD*108

JoAnne Maloney
GPA 3.4

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Illuminated Manuscripts
Survey of Graphic Design
Jeffery Case
Class Notes
Survey of Graphic Design, Graphic Design, Illuminated Manuscripts
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This 18 page Class Notes was uploaded by JoAnne Maloney on Sunday February 7, 2016. The Class Notes belongs to ARTD*108 at Coastal Carolina University taught by Jeffery Case in Winter 2016. Since its upload, it has received 33 views. For similar materials see Survey of Graphic Design in Art at Coastal Carolina University.


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Date Created: 02/07/16
Ch 4. Illuminated Manuscripts JoAnne Maloney V atican V ergil, Death of Lacoon, early 5th century CE - 2 scenes in one manuscript - late roman styleng manuscript - considered classical style - learned stories of religious beliefs 4-1 - gold leaf in manuscript caused illumination on to face which made the readers appear magical - costly and timely to produce — monks and religious leaders only had illuminated manuscripts 2 writing styles 1) uncials - 8th century CE - gospel of matthew - rounded shape and quicker - pen held in a straight horizontal 2) half uncials- 6th century 4-2,3 CE - Capital and lower case - descenders and ascenders - x-height created The book of Durrow the Man, 680 CE - symbol of Matthew - symbols of Christ, vines going around - ornamental styles - celtic cross and geometric4-4tif - frames and carpet style - as flat as a cubist painting and constructed from simple geometric forms - wearing a checkered pattern of red, yellow and green squares and tile like patterned textures Lindisfarne 4-6 Gospels, c 638 CE - carpet style - cross formed in carpet - snakes - hidden symbols throughout entire illustration - mathmatical grid buried under swirling lacertine birds and quadrupeds brings structure to the textured areas -a red, contoured cross with white circular “buttons” brings timeless stability to its churning energy Book of Durrow , 680 CE - Gospel of Mark - Geometric shapes - ribbon, like a headline - linked into ligature, and I and an N become an aesthetic form of 4-5 motifsaced threads and coiling spiral Book of Kells, 794- 806 CE 4-7,9 Chi Rho page - several illustrators, more than a year to make - amid intricate spirals and lacertines, the artist has drawn thirteen human heads, two cats, two mice calmly watching two other mice tug at a wafer, and an otter holding a salmon Ornamental Initials - scribe with illustrations in words - seemlessly together - brought multiple skills into one piece Caroline minuscules, 9th century CE 4-10 - from the Alcuin Bible - an economy of execution and good legibility characterized this new writing style - created breathing room - no longer calligraphy, more thought out now 4-11 Coronation Gospels, 800 CE - opening pages of St. Marks gospel - the author sits in a natural landscape on a page of deep crimson-stained parchment - the facing page is stained deep purple with gold lettering - facing pages meant to work with text - balance/ unity/ harmony - hierarchy of information and order Poe Gregory’ s Moralia in lob, 945 CE - Starting in the center of the top line, the inscription reads down, left and right, establishing a labyrinth of letterforms - geometry being introduced 4-14 - letters in geometric shapes - islamic style - ornate Four horse men of apocalypse, 1047 CE 4-15 - scared of natural phenomenons because of their lack of - told the non believers would be taken down - only knew what was taught by the church - Beatus saw the first horsemen as a God’s envoy, whose arrows pierce the hearts of non believers Fourth Angel from the Beatus of Fernando and Sancha, 1047 CE - final judgement 4-16 - solid bright colors = spanish influence - wing feathers are as sharp and menacing as daggers - the trumpet, wings and tail bring angular counterpoint to the horizontal bands of color - fear in sharp pointed angel and bird - taught that this is fear from Gods Multitude worshipping God, from the Douce Apocalypse, 4-18 1265 CE - the roving reporter of the final doom, is shown at the left of the scene, peering curiously into the rectangular image. - gospels spreading by pilgrimages, and crusades - traveled to see relics - trade came back as well as the spread of knowledge - illustration and words are structured - final judgement - linear drawings, images work with text even if distorted Ormesby Psalter , early 1300s CE - Initials joined with frame - frame illustrates the story in the text joined into a single complex text frames are - red and blue prevail in many late Gothic 4-19 manuscripts Mainz Haggadah, title page and spread, 1726 CE - spread of belief - Hebrew writing with illustrated scenes - depth in images - on the left moses holds the ten 4- 20, 21 commandments, and aaron, the brother of moses stands on the right - double page- images depict Mount Sinai, and Pharaoh and his army drowning in the Red Sea the layout implies the melodic rhythm of a buoyant Passover song through spacing and symbols Muhammad Amin ibn Abi al- Husin Kazvini, 1700s CE - Emperor holding court - making ceremonial presentation4-23 - high amount of detail - islamic manuscript - called ‘Padishahnahmah’ Limbourg Brothers, 1413-16 CE - show atmospheric perspective - created calendars that are personal - both pictorial and written information is presented with clarity, attesting to a high level of observation and visual organization Summary • sheeps, goats and cow skin • scribe, illuminator and binder • some kings couldn't read — not educated leaders • people couldn't read so illustrations were needed • churches/ monasteries had the text to learn • civilization went backwards — loss of knowledge • had to travel to get material for colors in all books because minerals were hard to find • universities created craftsman to make books = more books • illuminated manuscripts continued thought the 15th century and even into the early 16th century • doomed by typographic book


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