The art of tapestry has a long and distinguished history. Let us begin to unravel the mysteries of these fascinating textiles by looking at tapestry in the Middle Ages.
The influential Nineteenth century decorative artist and designer William Morris believed that the Medieval period was a time during which the art of the tapestry was perfected. He had much evidence to substantiate this belief, for the artisans who produced tapestries in the Middle Ages created many masterpieces. In addition, the designs and motifs that were developed in this era demonstrate the vitality of Medieval art.
One of the most charming and influential features of Medieval (and Gothic) tapestry design was the introduction of the millefleurs ("thousand flowers") motif. A vibrant, colorful blanket of flowers adorned the background of countless tapestries made during this period. These millefleurs designs often provided the backdrop for scenes of highly refined aristocratic pursuits, including hunts and other examples of courtly life.
Although the precise origin of the millefleurs motif is open to speculation, one likely suggestion is that this technique was an attempt to preserve year round the image of the fleeting flower. Speculation aside, the thousand flowers style continues to delight viewers, even after all of these centuries.
Along with the millefleurs motif, there are two other distinct trends that emerged in Medieval and Gothic tapestry. The first stylistic innovation is one in which imposing, monumental figures stand in the foreground against either plain or millefleurs backdrops, sometimes accompanied by architectural forms. This style of tapestry design resembles, and seems to be based on, the contemporary art of the illuminated manuscript. A fine example of this style can be seen in the Angers Apocalypse, which drew inspiration directly from miniatures.
The second trend, however, resulted in a more profound change in the art of tapestry. It too was inspired by painting - in this case, oil painting. In this style of tapestry, many small figures were used in the composition, and they were set against a landscape background. In time, these tapestries began to look more and more like the paintings on which they were originally based.
Royal patrons eagerly embraced this technique of painterly composition. This caused a demand for more of this style of tapestry to be made. However, the interest in painterly effects may have caused the demise of the Medieval tapestry.
On a cathedral or a church
Where, mid eclesiastic style
He smiles an early Gothic smile
Oliver Herford
Welcome. Your are about to meet a peculiar race of creatures which inhabited the great cathedrals of the Middle Ages, proliferating between the 11th and 13th centuries. Some of their decendants have ventured away from churches, migrating to other important buildings, but they have not fared as well as those still comfortably situated in cathedral walls. Let's go back a few centuries and find out what they are and how they came to be. A Gargoyle is a grotesquely carved human or animal figure found on an architectural structure, originally designed (believe it or not) to serve as a spout to throw rainwater clear of a building. They later became strictly ornamental and assumed many forms.
|
|