A Background in Byzantine Art Represents the Heavenly Realm

Late Byzantine Fine art

Tardily Byzantine Art began subsequently the sack of Constantinople in 1204 and continued until the fall of Byzantium in 1453.

Learning Objectives

Explicate how art during the Late Byzantine menstruum departed from the standards and styles seen in its early and middle periods

Key Takeaways

Key Points

• The French and Italian armies sacked Constantinople during the Quaternary Crusades in 1204 and divided the Byzantium empire into smaller kingdoms. The Byzantines eventually re-conquered Constantinople in 1261 and the Byzantine Empire continued to reign until falling to the Ottoman Turks in 1453.
• Art during the final centuries of the Byzantine Empire is known equally Late Byzantine fine art and the styles and conventions of the Early and Middle Byzantine periods begin to modify to reflect emerging dynamics and tastes.
• Mosaics and frescoes were still used for church decoration, although frescoed wall paintings became more popular. The change in favored medium also changed the types of imagery; wall paintings more than heavily favor narrative scenes and cycles instead of standard single images.
• During this flow landscapes and settings began to sally in 2-dimensional art. Furthermore, a new method of depicting the body, with softer modeling and shading was used. Robes and mantle are still schematically rendered, but the figures at present accept mass and tangible bodies.

Key Terms

• Ottoman: Of the Islamic empire of Turkey.

Late Byzantine Fine art

The period of Belatedly Byzantium saw the decline of the Byzantine Empire during the thirteenth through fifteenth centuries. Although the capital city of Constantinople and the empire as a whole prospered as a connection between east and west traders, Byzantium continually dealt with threats from the Ottoman Turks to the eastward and the Latin Empire to the west.

During the Quaternary Crusades, the Crusaders attacked Constantinople, took the city nether siege in 1203, and eventually overcame its defenses to sack the city in 1204. Constantinople became the capital metropolis of the Latin Empire, one of the new kingdoms of a divided Byzantium, until the Byzantines retook it in 1261.

Once more, Constantinople  became a prosperous Byzantine metropolis until falling to the Ottoman Turks in 1453. The sack of Constantinople in 1204 marks the starting point of Tardily Byzantine Art, which lasted until the fifteenth century and spread beyond the borders of Byzantium.

The partition of the Byzantine Empire: The segmentation of the Byzantine Empire afterward its sacking in 1204 by the French and Italian armies during the Quaternary Crusades.

Fine art during this menstruation began to modify from the standards and styles seen in the Early and Middle periods of Byzantium rule. A renewed interest in landscapes and earthly settings arose in mosaics, frescoes, and psalters . This development eventually led to the demise of the golden background.

The settings are ofttimes simple, perhaps a colina or a chair at beginning, and are often pastoral. Architecture began to be depicted more often, which renewed the utilize of perspective . At first buildings were rendered slightly skewed, but eventually artists refined the combination of fabric (mosaic and painting) with compages and perspective .

Christ Healing a Paralytic: A mosaic in Caphernaum from the bicycle of the Life of Christ. Information technology is located in the outer narthex of Chora Church building, Constantinople, circa 1310–20.

Chora Church

Mosaic work was all the same popular in the Late Byzantine menses, but frescoes and the depiction of narrative cycles began to increase in popularity to become the primary decoration in churches. This transition is seen in the Chora Church, which was initially decorated in mosaic, with the last fly decorated with wall paintings. The shift in media changed the subjects depicted.

Mosaics of single scenes and figures were replaced in favor of frescoed narrative cycles and biblical stories. The rendering of the figures also began to alter. Artists at present relied less on sharp, schematic folds and patterns and instead use softer, more than subtle modeling and shading. While sharp folds in the pall can still be found in images from this period, these folds are rendered in like, not gratuitous, colors and shades. Furthermore the bodies appear to have mass and weight. The figures no longer float or hover on their toes but stand up on their anxiety. This allows for the addition of move and energy in the painted figures and an overall increase of drama and emotion.

Frescoed interior of the Paracclesion Fresco: Scenes from the lives of the Virgin Mary and Christ. Chora Church, Constantinople, c. 1310–20.

Pammakaristos Church

Although sculpture and cavalcade pattern are largely absent-minded from discussions of Late Byzantine art, some notable fourteenth-century examples tin be found in the Pammakaristos Church building in Constantinople. Although the church was converted to a mosque in the fifteenth century, and all representations of humans and animals were either destroyed or covered, at least two fragments of a column capital depicting the busts of apostles in high relief survives in the collection.

While the heads of the men are somewhat large in proportion to their bodies, their bodies have assumed more than naturalistic positions than their predecessors. They direct their gazes to either subtle or sharp angles. The two hands that are visible agree books, perhaps the Gospels, to their chests. In sum, their poses anticipate the return to classicism that would define the Renaissance in the West.

Column capital busy with busts of apostles: Their poses anticipate the return to classicism that would define the Renaissance in the W.

The Chora Church building in Constantinople

The Chora Church building is decorated with iconic murals and mosaics from the fourteenth century that represent the Late Byzantine artistic styles.

Learning Objectives

Describe the ways in which the Chora Church building in Constantinople represents Late Byzantine artistic styles

Cardinal Takeaways

Cardinal Points

• The Chora Church's architecture, mosaics , and frescoes are infrequent examples of Belatedly Byzantine creative developments and style . The church that stands today consists of two narthices, a parecclesion , and a mortuary chapel.
• The mosaics demonstrate the new weightiness and smoothness that is seen in Tardily Byzantine art. As is seen of the Koimesis Mosaic, the bodies are more than modeled, delicately shaded, and have mass —the figures appear to stand up on the ground instead of float.
• Frescoed wall painting is the primary means of ornament in the paracclesion. The program of images chronicle to Christ and the Virgin Mary by depicting scenes from their lives, their ancestors, and themes of salvation, which culminate in scenes from the Concluding Judgment.
• The apse fresco of the Anastasis depicts Christ redeeming Quondam Testament souls from Hell. The scene is total of energy and is centered on Christ who grabs the wrists of Adam and Eve. The figures are depicted with grace and a smooth modeling of mass and drapery.
• Throughout the mosaics and frescoes, Christ is depicted every bit a bearded (mature and wise) savior and ruler. This evolution from clean-shaven youth to bearded adult coincides with Christianity'south evolution from illegal faith to state organized religion.

Key Terms

• dado: The lower portion of an interior wall that is busy differently from the upper portion.
• koimesis: Too known as the Dormition of the Virgin, this is a delineation of the Virgin Mary in her last sleep, at death, earlier ascending into Heaven.
• mandorla: An almond-shaped cloud or radiance that surrounds sacred figures, such equally Christ or the Virgin Mary, in traditional Christian fine art.
• parecclesion: A side chapel establish in Byzantine architecture.
• narthex: A western antechamber leading to the nave in some (especially Orthodox) Christian churches.

The Chora Church

The Chora Church'south full name is the Church of the Holy Savior in Chora. The church was commencement built in Constantinople during the early 5th century. Its name references its location exterior the city's fourth-century walls. Even when the walls were expanded in the early fifth century by Theodosius Ii, the church building maintained its name.

Within the church is a set of frescoes and mosaics that survived the church's conversion into a mosque in the sixteenth century when its Christian imagery was plastered over. In 1948 the church became a museum afterwards undergoing extensive restoration to uncover and restore its fourteenth-century decoration. It is at present known as the Kariye Museum or Kariye Camii.

Architecture

The Chora Church building that stands today is the consequence of its third stage of construction. This edifice and the interior decoration were completed between 1315 and 1321 under the Byzantine statesman Theodore Metochites. Metochites' additions and reconstruction in the fourteenth century enlarged the ground plan from the original small-scale, symmetrical church building into a large, asymmetrical square that consists of three main areas:

1. An inner and outer narthex or foyer.
2. The naos or main chapel.
3. The side chapel, known as the parecclesion. The parecclesion serves as a mortuary chapel and held 8 tombs that were added after the area was initially decorated.

In that location are six domes in the church, three over the naos (i over the main space and two over smaller chapels), ii in the inner narthex, and ane in the side chapel. The domes are pumpkin-shaped, with concave bands radiating from their centers, and richly decorated with frescoes and mosaics that depict images of Christ and the Virgin at the center, with angels or ancestors surrounding them in the bands.

Footing plan of the Chora Church building: Additions and reconstruction in the fourteenth century enlarged the footing programme from the original minor, symmetrical church into a big, asymmetrical foursquare that consists of iii main areas.

Mosaics

Mosaics extensively decorate the narthices of the Chora Church building. The artists outset decorated the church in the naos and and so completed the piece of work in the inner and outer narthices, which results in differences in the mosaics' execution every bit the mode progressed to show more liveliness and subtlety.

The surviving mosaics in the naos depict the Virgin and Child and the Dormition of the Virgin, a koimesis scene depicting the Virgin after decease before she ascends to Heaven. This scene, located above the west door, depicts the Virgin in blue lying on a sarcophagus draped in purple and gilt. Christ, in gilded, stands backside the Virgin surrounded by a mandorla and holds an infant, representing the Virgin'due south soul. The figures in the scene all have a certain weightiness that helps to basis them, calculation an element of naturalism .

Koimesis mosaic: The figures in the scene all take a certain weightiness that helps to ground them, adding an element of naturalism.

The mosaics found in the narthices of the Chora Church besides describe scenes of the lives of the Virgin and Christ, while other scenes depict One-time Testament stories that prefigure the Salvation. In the outer narthex, to a higher place the doorway to the inner narthex is a mosaic depicting Christ as the Pantocrator , the ruler or estimate of all, in the eye of a dome. The mosaic depicts a stern-faced Christ against a gilded backdrop holding the gospels in one hand while gesturing with the other. An inscription in the mosaic reads, "Jesus Christ, Land of the Living."

Southward dome of the inner narthex: This mosaic depicts Christ Pantocrator surrounded by his ancestors.

In another important scene in a higher place the entrance to the naos, Christ Enthroned is depicted receiving the donor of the church building. The scene follows the Byzantine convention of depicting an architectural donation with an image of Christ in the center and the donor kneeling beside him, holding a model of his donation.

Here, Christ sits on a throne in a position similar to the Pantocrater, property a book of gospels while his other mitt gestures. The donor Theodore Metochites, wearing the clothing of his role, kneels on Christ'southward right. He offers Christ a representation of the Chora Church in his hands. An inscription gives his titles.

Dedication mosaic: The scene follows the Byzantine convention of depicting an architectural donation with an prototype of Christ in the middle and the donor kneeling beside him, holding a model of his donation.

Frescoes

The walls and ceilings of the parecclesion are decorated with scenes from the life of Christ and the Virgin, and themes of salvation befitting for a mortuary chapel. Like the mosaics, the scenes are painted in the upper levels of the building. The lower levels are reserved for painted images of saints and prophets and a decorative dado that mimics marble revetment .

The entirety of the parecclesion is covered in fresco scenes and painted images, creating an overwhelming sense of splendor and glory that ultimately brings the viewer to the concluding scenes of conservancy and judgment.

Virgin and Child with Angels: A fresco in a dome in the parecclesion that depicts the Virgin and Child with Angels.

Anastasis

The most of import of these frescoes is the Anastasis, a representation of the Last Judgment, in the apse of the eastern bay . This image depicts Christ in Hell, saving the souls of the Quondam Attestation. Christ stands in the center grasping the wrists of Adam and Eve, whom he raises from their sarcophagi. Saints, prophets, martyrs and other righteous souls, including John the Baptist, King David, and King Solomon, from the Old Attestation stand on either side of Christ. Christ, standing over a bound Satan, wears a white robe and is framed by a white and light blue mandorla.

Anastasis: This epitome depicts Christ in Hell, saving the souls of the Old Testament. Christ stands in the centre grasping the wrists of Adam and Eve, whom he raises from their sarcophagi.

The epitome is the culmination of the parecclesion's fresco cycle and ane of the almost impressive Late Byzantine paintings. Christ stands in an active, chiastic position. His arms reach out to Adam and Eve and his anxiety are positioned on uneven ground, providing the sensation of imbalance as he retrieves righteous souls.

The figures themselves are rendered in a softer, subtler mode. The harsh, jagged drape has softened slightly with fluid and delineated folds. The expression of Christ and the others are dignified and stern. The One-time Attestation figures on either side gesture towards the scene, signaling the futurity of the faithful, as they wait for Christ to bring them into Heaven.

Changing Representations of Christ

The depictions of Christ in the Chora Church differ greatly from those of the third and quaternary centuries. Recalling Early Christian fine art, Christ often appears clean shaven and youthful, sometimes cast every bit the Skilful Shepherd who tends and rescues his flock from danger. At a time when Christianity was illegal, Christians would accept found such imagery of a protector reassuring.

By the fourteenth century, when Theodore Metochites funded the interior decoration, Christianity was no longer a fledgling faith; it was a state religion in which even the emperor recognized Christ equally the ultimate say-so. The images of Christ in the frescoes and mosaics of the Chora Church building depict an authoritative, bearded human being who occupies the role of both savior and judge. As an archetypal symbol of dominance and wisdom through the ages, the bristles would take been a logical choice for the face of the near supreme leader.

Icon Painting in Byzantine Russian federation

Andrei Rublev is considered the foremost fifteenth century Russian icon painter and the principal behind the Old Testament Trinity.

Learning Objectives

Explain the evolution of Russian icon painting from the tenth century to the mod era

Key Takeaways

Key Points

• The tradition of Russian icon production began when the Kievian Rus' converted to Orthodox Christianity in the tenth century. As fourth dimension passed, the technique took on uniquely Russian attributes.
• Russian icon artists saw themselves as servants of God who transcribed the Gospels in visual form . Since they did not seek individual celebrity they did not sign their piece of work, and then the names of nigh Russian icon artists are unknown to Western scholars.
• The painted icons of Andrei Rublev, who worked in the fifteenth century, are considered to be the pinnacle of Russian icon painting, demonstrating the combination of Byzantine and Russian styles .
• The Old Attestation Trinity that depicts the three angels hosted by Abraham and Sarah equally described in Genesis 18, is an icon that is ascribed solely to Rublev's hand. The icon is painted with brilliant colors and a fragile mitt to describe subtle lines , modeling, and humanity in the scene.
• Exposure to Western styles and the dawn of the modernistic age changed the appearance of icons and the media in which they were produced: subject matter causeless a more realistic appearance past the seventeenth century and, by the early on twentieth century, the mechanized printing press sparked the popularity of paper icons.

Fundamental Terms

• tempera: A painting medium with either a casein or egg-yolk binder.
• prefiguration: A vague advance representation or suggestion of something.

Russian Icons

In 988 CE, the Slavic confederation known as Kievan Rus' (a precursor to present-day Russia) adopted Orthodox Christianity equally its official religion. Soon thereafter, those living within its borders began producing icons. As a general rule, these icons strictly followed the traditional models and formulas of Byzantine art.

Nevertheless, equally time passed, Russian artists widened the vocabulary of types and styles far beyond annihilation plant elsewhere in the Orthodox world. Similar Byzantine icons, Russian icons were usually modest paintings on wood. Even so, some icons produced for churches and monasteries were, at times, much larger. Russian artists likewise used alternative media, such as copper, for their work.

Feodorovskaya icon: Russian artists also used culling media, such as copper, for their work.

Russians sometimes speak of an icon as having been written because, in the Russian language, the aforementioned word ways both to paint and to write. Icons are considered to be visual versions of the Gospels, and therefore, careful attention is paid to ensure that each Gospel is faithfully and accurately conveyed.

Considering of these strict standards, artists saw themselves as God'southward servants and did not strive for private glory, as would become the norm in the Westward. For this reason, they did non sign their creations, and very few artists' names are known to scholars outside of Russian federation. Andrei Rublev is one rare example.

Andrei Rublev

Russian icon painters flourished throughout the Byzantine period. Russian icons were known for their strict adhesion to Byzantine-style painting including the use of patterns, strong lines, and contrasting colors. Nearly Byzantine Russian icons were painted in egg tempera on wood panels. Gold foliage was frequently used for halos and background colors and statuary , argent, and can were too used to embellish the icons.

The work of Andrei Rublev, a Russian icon painter in the fifteenth century, is considered to be the pinnacle of Byzantine Russian icon painting. Not much is known about his life. He was born in the 1360s and died in either 1427 or 1430.

What is known about Rublev comes from monastic chronicles, which business relationship for his work as a painter and practise not discuss his life. He is believed to take lived at the Trinity-St. Serguis Lavra, a monastery outside of Moscow in the town of Sergiyev Posad. Rublev is start recorded to accept painted icons and frescos for the Cathedral of the Annunciation in Moscow in 1405.

He worked at the Cathedral of the Proclamation under Theopanes the Greek, a Byzantine principal, who moved to Russia and is believed to have been Rublev'due south teacher. Rublev also often worked with Daniil Cherni, another monastic artist. The two painted icons for the Assumption Cathedral in Vladimir in 1408 and the Church of the Trinity in the Trinity-St.Sergius Lavra monastery from 1425-1427.

The Old Testament Trinity

The icon known as the Old Testament Trinity (1411–1427) is the just piece of work to exist attributed solely to Rublev's mitt. Information technology is considered to correspond the brilliance of his work and the greatest achievement of Byzantine Russian icons. The egg tempera icon was made for the Church building of the Trinity in the Trinity-St. Sergius Lavra and stands merely less than five anxiety tall and is nearly four feet wide.

Old Testament Trinity: This is the only work to be attributed solely to Rublev'southward mitt. It is considered to represent the brilliance of his work and the greatest achievement of Byzantine Russian icons.

The icon depicts iii angels around a table and is an illustration of Genesis 18, the Hospitality of Abraham, in which Abraham and his wife Sarah host three angels at their table. The scene focuses on the three angels and is full of symbolism that focuses on the mystery of the Holy Trinity and the prefiguration of conservancy.

The epitome today is poorly preserved, simply information technology demonstrates Rublev'south style and skill. The iii angels sit around a table with a single chalice. The figures are delicately rendered. Their faces and easily are shaded to create book , and their expressions are at-home and serene. Each angel has a halo and wings, and holds a thin scepter.

Despite having nearly identical faces, their vividly painted garments assist to distinguish them. Their garments are painted in rich, saturated colors. Each angel wears a robe in brilliant blueish coupled with a second colour including a orange, a deep red, and a green. The linearity of the robes highlights Byzantine methods of modeling that are based on the use of solid lines and complimentary colors to create contrasting folds and replicate the body'south mass and elevation.

While the figures appear weighty and naturalistic, the scenery and landscape around them are non-naturalistic. The table and chairs are painted in a skewed perspective and a small architectural detail in the upper left of the panel and a central tree create the basis of the setting.

Into the Modern Era

Until the seventeenth century, innovation was largely absent-minded from icon production in Russia. When Roman Catholic and Protestant styles from Western Europe triggered new developments, the result was a split in the Russian Orthodox Church. The traditionalists—the persecuted Onetime Ritualists or Old Believers—connected the traditional stylization of icons, while the Land Church modified its do.

While some artists continued to produce figures in the traditional stylized manner, others opted for a mixture of Russian stylization and Western European realism very much like that of Catholic religious art of the fourth dimension. The Westernization of Russian icons likely escalated under the reign of Tsar Peter the Great, whose cultural revolution brought Western values and the Enlightenment to Russia.

Tradition and the new style converge in an icon of Saint Nicolas and the Venerable Gerasimus of Boldino belongings the much venerated Theotokos of Kazan. The Theotokos of Kazan was an icon of the highest stature inside the Russian Orthodox Church. Co-ordinate to legend, information technology was caused from Constantinople, lost in 1438, and miraculously recovered in pristine state in 1579. The icon was stolen and likely destroyed in 1904.

In the icon of Nicolas and Geasimus, the ii saints, the icon, and the background are realistically rendered. The divine light source in the eye causes naturalistic shadows to autumn on the the hands of the two saints and the sides of their faces. Color and visual texture also mimic the natural world, while the tiles floor betrays a sense of realistic one-point perspective. Globe tones dominate the picture plane , pointing to possible Dutch Baroque (Protestant) influence.

Icon of Saint Nicolas and Gerasimus of Boldino property the Theotokos of Kazan: Unlike traditional icons, this example from the seventeenth century or later displays the influence of Western Protestant fine art, such equally the paintings of the Dutch Baroque tradition.

In the nineteenth and early twentieth centuries, icon painting in Russian federation went into a great decline with the inflow of car lithography on paper and tin. This new applied science could produce icons in great quantity and much more than cheaply than the workshops of painters. Today, Russian Orthodox worshippers purchase much larger numbers of paper icons than the more than expensive painted panels.

Painting in the Belatedly Byzantine Empire

As Late Byzantine painting became more than naturalistic—bodies gained mass and figures portrayed humanity with emotion and movement—and these developments and traditions connected into the Post-Byzantine age.

Learning Objectives

Describe the form and content of icons and murals institute in Late Byzantine painting and its immediate successors

Key Takeaways

Key Points

• Painters in the Late Byzantine period painted scenes with a new sense of naturalism by portraying figures with mass and naturalistic bodies under their clothing; drapery became a garment through which the body was rendered. Landscapes and settings were used more than often, and figures were given increased movement and emotion to lend them an additional level of humanity.
• The Ohrid Icons are a serial of icons produced in Constantinople that were subsequently moved to Ohrid Macedonia. The Annunciation from ane of the icons is a delicately painted scene filled with emotion and tension.
• The Crucifixion scene painted behind the altar of the Katholikon of the Monastery of the Virgin at Studenica is Serbia is some other scene that depicts figures in the Byzantine style —they are infused with emotion and humanity, represented through their figure's expressions and the sway of Christ'southward trunk.
• During this fourth dimension the iconostasis was fully adult and became a popular method of dividing the nave from the altar in Byzantine churches, especially in Russia. This screen was ofttimes large and covered in icons of saints and Christ in the general pattern of a Deesis .
• Even as the Byzantine Empire lost territory, its artistic traditions continued, about notably in the Cretan School. In this terminal phase of Byzantine fine art, figures and illusionistic space continued to assume greater degrees of naturalism, while the golden background remained in most icons.

Key Terms

• Katholikon: The major temple or church building of a monastery or diocese in an Eastern Orthodox Church.
• iconostasis: A wall of icons between the sanctuary and the nave in an Eastern Orthodox church.
• Deesis: An iconic representation, common in the Byzantine menstruation, of Christ enthroned, Christ Pantocrator, surrounded past the Virgin Mary and St. John the Baptist, oftentimes in supplication.

Belatedly Byzantine Painting

The paintings in the Church of Christ in Chora are representative of the fashion of painting produced in the concluding centuries of the Byzantine Empire. Large murals were painted over expanses of compages.

Many icons at this fourth dimension were panels painted on both sides. Icons were painted this mode since they were used in processions, and therefore seen from 2 directions. In churches, they were often displayed in special stands to allow for the viewing of both sides. Even afterward the Byzantine shrank and somewhen savage, its artistic traditions continued in many onetime territories. The most famous example is the Cretan Schoolhouse.

Iconostasis

During the Late Byzantine period the iconostasis was fully developed. It was a screen or wall that stood in the nave, separating the space from the sanctuary and chantry of the church. This wall was covered in icons and normally had three doors that allowed access into the sanctuary and viewing of the chantry.

Icons were placed on the iconostasis following a general guideline that included the presence of a Deesis, Christ enthroned surrounded by John the Baptist and the Theotokos. Other icons included images of angels, saints, One-time Testament prophets, the Apostles, and the patron saints of the church and urban center. The presence of the icons and the iconostasis was non to divide just to provide a bridge or a connection between the earthly and heavenly realms.

Iconostasis of the Church of the Annunciation: Designed by Theophanes the Greek, the wall is covered in icons and its doors let access into the sanctuary and a view of the altar.

Ohrid Icons

The Ohrid Icons (early fourteenth century) were produced in Constantinople and were later moved to Ohrid in Republic of macedonia. One icon depicts the Virgin Mary on ane side and the Annunciation on the other side. The Annunciation portrays the Virgin Mary seated on a throne as the angel Gabriel approaches her to deliver the news of her conception of the son of God.

The groundwork is typically Byzantine: gold leaf groundwork that mimics the golden backgrounds of mosaics . The architecture is rendered in a afterward Byzantine style. The buildings are painted with an attempt at perspective that is more than skewed than correct but that however provides a suggestion of infinite.

This was too seen in the Theotokos of the Hagia Sophia, but in this instance the architecture provides more of a place setting, equally in the landscape of the Lamentation from Nerezi. The figures themselves are rendered with Byzantine faces—small mouths and long, narrow noses. The faces, hands, and feet are carefully shaded and modeled.

The vesture is too follows the Byzantine style with dramatic, deep folds and a schematic patterning that renders the body underneath. The bodies, however, differ from their earlier Byzantine predecessors. They have weight and appear to exist underneath their clothing.

Annunciation: This icon portrays the Virgin Mary seated on a throne every bit the angel Gabriel approaches her to deliver the news of her conception of the son of God.

The scene also takes cues from Late Byzantine styles, since it is dramatically depicted. The Virgin's rigid pose and single gesture signify her unease at the angel'south approach. Gabriel, meanwhile, appears to have just landed. He strides forward, with an arm outstretched. He places his weight completely on his left foot, while he prepares to establish his right foot on the basis .

We are witness to the moment of his inflow. The momentum of his arrival is further emphasized by the placement of his wings. 1 wing has settled down onto his back while the other reaches upwards to residue his flight. The motion and emotion in the scene can exist related to the Anastasias scene of the Chora Church. Both images take a single, cardinal effigy full of motion that provides energy to the unlike scenes depicted.

Monastery of the Virgin at Studenica, Serbia

The Serbian Monastery of the Virgin was built in the twelfth century exterior the urban center of Kraljevo. While the monastery'due south churches practise non appear from the exterior to follow Byzantine architectural styles, the interior painting of the Katholikon, the Church of the Virgin, is painted in the Late Byzantine manner.

The Crucifixion, painted on the western wall overlooking the altar, represents the mastery of Serbian art and the development and spread of the Belatedly Byzantine mode from the center of Byzantium in Constantinople. The figures are less elongated than their earlier counterparts, and the groundwork is painted in a bright blueish with golden stars.

The central prototype of Christ on the cross is surrounded by mourners, including his female parent. The figures in this calm scene have mass. While the Virgin Mary still appears to exist a mass of robes, her pall is more subtly rendered. The bodies of the other figures are more hands denoted by the modeling of their robes. The mantle is still reliant on deep folds, but the folds are no longer contorted and are less schematic. While less dramatic and more serene, in that location is an underlying emotion of sadness that is subtly depicted by the sway of Christ's body.

Crucifixion: This is painted behind the altar of the Katholikon of the monastery of the Virgin at Studenica.

The Cretan School

Over the form of the thirteenth through fifteenth centuries, the Byzantine Empire lost much of its territory. However, its creative traditions continued for centuries in areas such as Crete.

Established, in the fifteenth century, the Cretan Schoolhouse is known for its distinct manner of icon painting that was influenced past both Western and Eastern traditions. Even before the fall of Constantinople, the leading Byzantine artists were leaving the majuscule to settle in Crete. This migration continued in the following years and reached its peak after the fall of Constantinople in 1453.

The early on icons produced by the Cretan Schoolhouse follow many of the earlier Byzantine traditions. Over the course of the sixteenth and seventeenth centuries, as the styles of Italian and Northern Renaissance artists grew in popularity, the rendering of the human body and illusionistic infinite became increasingly realistic.

Nevertheless, many icons retained the traditional gold backgrounds. The influence of the Renaissance, in which the notion of the artistic genius arose, can also be seen in the increasing zipper of artists' names to their creations.

In the following examples by El Greco (1541–1614) and Emmanuel Tzanes (1610–1690), nosotros can meet the transition from the Belatedly Byzantine manner (in which the contours of the body were acknowledged beneath the curtain and attempts at realistic perspective were still evolving) to the Mail-Byzantine style, which depicts a realistic recession of space and dynamic bodily poses.

El Greco'south Dormition of the Virgin: The Late Byzantine realism in the rendering of the torso is evident hither, as the mourners assume a variety of poses. The solemn facial expressions and body language reverberate the somber mood of the final slumber of the Virgin Mary.

Emmanuel Tzanes' St. Mark the Evangelist: In this icon, St. Marking assumes a dynamic pose, including the dramatic head turn, which would get a common attribute in images of the inspired artist over the form of the next few centuries. Tzanes'south stylized rendering of the lion tin be explained past his never having seen one in nature or in visual culture.

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Source: https://courses.lumenlearning.com/boundless-arthistory/chapter/late-byzantine-art/

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