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CMA: Medieval Art

@cmamedieval.bsky.social

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Sharing public domain works from the Medieval Art department of the Cleveland Museum of Art. Automated thanks to @andreitr.bsky.social and @botfrens.bsky.social

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Reposted by CMA: Medieval Art

Henri Matisse @henrimatisse.bsky.social · 12d

Seascape at Goulphar, 1896
https://botfrens.com/collections/48/contents/14800

Seascape at Goulphar

CMA: Medieval Art @cmamedieval.bsky.social · 4h

Rondache (Round Shield) https://clevelandart.org/art/1916.1504

Highly decorated circular shields like this one were a specialty of the city of Milan. This shield would have originally belonged to an armor that would have been decorated to match - with radiating etched bands of classical warriors and trophies.

Reposted by CMA: Medieval Art

CMA: Drawings @cmadrawings.bsky.social · 14d

The Forum of Nerva, Rome https://clevelandart.org/art/1940.561

The Forum of Nerva, Rome

CMA: Medieval Art @cmamedieval.bsky.social · 8h

Hours of Queen Isabella the Catholic, Queen of Spain: Fol. 72v, Crucifixion https://clevelandart.org/art/1963.256.72.b

This manuscript was illuminated by a circle of at least five highly organized manuscript painters active in the Flemish cities of Ghent and Bruges. The principal illuminator was Alexander Bening, who painted the majority of the book's miniatures. Manuscripts produced by this circle of artists are renowned for the decoration of their borders, which typically feature a rich variety of realistically-painted flowers, birds, and butterflies. This prayer book, called a book of hours, was intended not for a cleric, but for the private devotions of a lay person-in this case, Isabella the Catholic, Queen of Spain (1451-1504). Isabella's coat of arms embellishes the book's frontispiece. It is unlikely that the book was commissioned by the Queen herself; rather, she probably received it as a diplomatic gift from someone courting her patronage, perhaps Cardinal Francisco Jimenez de Cisneros. A Franciscan friar, Jimenez was dependent upon Isabella for his advancement, first to the post of Queen's confessor in 1492, and then to Archbishop of Toledo in 1495.

CMA: Medieval Art @cmamedieval.bsky.social · 11h

Hours of Queen Isabella the Catholic, Queen of Spain: Fol. 78r https://clevelandart.org/art/1963.256.78.a

This manuscript was illuminated by a circle of at least five highly organized manuscript painters active in the Flemish cities of Ghent and Bruges. The principal illuminator was Alexander Bening, who painted the majority of the book's miniatures. Manuscripts produced by this circle of artists are renowned for the decoration of their borders, which typically feature a rich variety of realistically-painted flowers, birds, and butterflies.
This prayer book, called a book of hours, was intended not for a cleric, but for the private devotions of a lay person-in this case, Isabella the Catholic, Queen of Spain (1451-1504). Isabella's coat of arms embellishes the book's frontispiece. It is unlikely that the book was commissioned by the Queen herself; rather, she probably received it as a diplomatic gift from someone courting her patronage, perhaps Cardinal Francisco Jimenez de Cisneros. A Franciscan friar, Jimenez was dependent upon Isabella for his advancement, first to the post of Queen's confessor in 1492, and then to Archbishop of Toledo in 1495.

CMA: Medieval Art @cmamedieval.bsky.social · 11h

The Gotha Missal: Fol. 96v, Text https://clevelandart.org/art/1962.287.96.b

This elegant Latin manuscript is known today as The Gotha Missal after its eighteenth-century owners, the German Dukes of Gotha. The volume was originally copied and illuminated in Paris around 1375 -- a commission of the Valois king, Charles V "the Wise" (1364-1380), one of the great bibliophiles of the fifteenth century and brother of Dukes Philip the Bold of Burgundy and Jean de Berry. Manuscript missals were not intended for the lay user, but rather for the use of the celebrant at Mass. The present volume was therefore meant to be used by the king's private chaplain and was probably housed in Charles's private chapel, possibly in his principle residence, the Palace of the Louvre (demolished in the sixteenth century). The main decorative body of the missal consists of two full-page miniatures comprising the Canon of the Mass and twenty-three small miniatures. The style and high quality of the decoration points to its inclusion withing a select group of manuscripts accepted today as from the hand of Jean Bondol. Bondol was active at the court of Charles V from 1368 until 1381 where he headed the court workshop and also served as the king's valet de chambre. The blind-tooled leather binding dates to the fifteenth century.

CMA: Medieval Art @cmamedieval.bsky.social · 14h

Leaf from a Gradual: Initial P with the Nativity https://clevelandart.org/art/2003.173

This beautiful initial P introduces the text Puer natus e[st] nobis, et filius datus est nobis (“For a child is born to us, and a son is given to us”) which marks the opening of the Introit for Christmas Day. The text, taken from Isaiah 9:6, continues, “. . . and his name shall be called Wonderful.” It is used to celebrate one of the most joyous events of the Christian Church—the birth of Christ. This splendid leaf from a manuscript gradual contains the chants used for solemn high Mass on Christmas Day. The initial P features sprays of foliage that emerge and migrate along three sides of the page. Painted by Attavante degli Attavanti, one of the most prominent Florentine illuminators of the late 15th century—whose patrons included Duke Federigo da Montefeltro of Urbino, King Matthias Corvinus of Hungary, and the Medici Pope Leo X—the initial is characteristic of Attavante’s use of a bright, sunny palette. His miniatures often include detailed landscapes with receding vistas and sundrenched hills, townscapes, and ultramarine skies.

CMA: Medieval Art @cmamedieval.bsky.social · 1d

Rapier https://clevelandart.org/art/1916.1719

The rapier was a sword worn with civilian dress and used in duels. The term <em>rapier</em> derives from the 16th-century French word <em>rapière</em>, which in turn was derived from the Spanish <em>espada ropera</em>, or “dress sword.” The rapier was a light weapon with a straight double-edged and pointed blade that, with the development of the art of fencing in the 1500s and 1600s, gradually became narrower and lighter, and thus suitable for thrusts only. With the new technique of swordplay emphasizing the point of the blade, sword guards became more complex to protect the duelist’s unarmored hand. These elaborate guards were frequently decorated by various techniques—chiseling, bluing, russeting, and damascening.

CMA: Medieval Art @cmamedieval.bsky.social · 1d

Hours of Queen Isabella the Catholic, Queen of Spain: Fol. 144r https://clevelandart.org/art/1963.256.144.a

This manuscript was illuminated by a circle of at least five highly organized manuscript painters active in the Flemish cities of Ghent and Bruges. The principal illuminator was Alexander Bening, who painted the majority of the book's miniatures. Manuscripts produced by this circle of artists are renowned for the decoration of their borders, which typically feature a rich variety of realistically-painted flowers, birds, and butterflies. This prayer book, called a book of hours, was intended not for a cleric, but for the private devotions of a lay person-in this case, Isabella the Catholic, Queen of Spain (1451-1504). Isabella's coat of arms embellishes the book's frontispiece. It is unlikely that the book was commissioned by the Queen herself; rather, she probably received it as a diplomatic gift from someone courting her patronage, perhaps Cardinal Francisco Jimenez de Cisneros. A Franciscan friar, Jimenez was dependent upon Isabella for his advancement, first to the post of Queen's confessor in 1492, and then to Archbishop of Toledo in 1495.

Reposted by CMA: Medieval Art

CMA: Prints @cmaprints.bsky.social · 14d

Euterpe (music, lyric poetry) (from the Tarocchi series D: Apollo and the Muses, #18) https://clevelandart.org/art/1924.432.18

In Greek mythology, the Muses were goddesses who presided over different branches of the arts and sciences. They were the nine daughters of Zeus, king of the gods, and Mnemosyne, the goddess of memory. Apollo, the god of light, music, prophecy, and poetry was their leader.

CMA: Medieval Art @cmamedieval.bsky.social · 1d

Nomisma with Eudocia and Romanus IV Diogenes (obverse) https://clevelandart.org/art/1964.425.a

Byzantine Gold Coins

The vast number of surviving Byzantine coins attests to the level of trade across the empire. Controlled and supervised by the emperor, the producers of coins took care to represent his authority and reflect his stature. Talented artists were recruited to engrave the dies (molds) used for the striking of coins. Emperors increasingly came to include their heirs and co-emperors on their coinage, as well as other family members or even earlier rulers. Coins were recognized, then as now, as small, portable works of art. With their inscriptions and images, Byzantine coins provide valuable documentation of historical events and a record of the physical appearance of the emperors. The coins shown here include the solidus, the basic gold coin of 24 karats; the tremissis, a gold coin of one-third the weight and value of the solidus; and the nomisma, which in the 10th century replaced the solidus as the standard gold coin.

Reposted by CMA: Medieval Art

Paul Klee @paul-klee.bsky.social · 15d

Yet Berlin, Our Citadel ... (Berlin dagegen unsere Hochburg...) from Potsdamer Platz oder Die Nächte des neuen Messias. Ekstatische Visionen (Potsdamer Platz or The Nights of the New Messiah. Ecstatic Visions) http://www.moma.org/collection/works/144717

Abby Aldrich Rockefeller Fund

CMA: Medieval Art @cmamedieval.bsky.social · 1d

Missale: Fol. 116: Saint Matthew with Angel https://clevelandart.org/art/2006.154.116.b

Missale: Fol. 116: Saint Matthew with Angel

CMA: Medieval Art @cmamedieval.bsky.social · 1d

Briot Unite (obverse) https://clevelandart.org/art/1969.194.a

Briot Unite (obverse)

CMA: Medieval Art @cmamedieval.bsky.social · 2d

Book of Hours (Use of Rouen): fol. 61v https://clevelandart.org/art/1952.227.61.b

Book of Hours (Use of Rouen): fol. 61v

Reposted by CMA: Medieval Art

Toulouse-Lautrec @toulouselautrec.bsky.social · 16d

Bust of a Nude Man

The "Bust of a Nude Man" by Henri de Toulouse-Lautrec captures the powerful physique of a male figure, showcased with a naturalistic approach and subtle use of lighting. Known for his depictions of cabaret life, Toulouse-Lautrec's work skillfully blends the raw realism of human form with his characteristic attention to individuality and expression.

CMA: Medieval Art @cmamedieval.bsky.social · 2d

Book of Hours (Use of Rouen): fol. 73r https://clevelandart.org/art/1952.227.73.a

Book of Hours (Use of Rouen): fol. 73r

Reposted by CMA: Medieval Art

CMA: European Painting and Sculpture @cmaeuropeanpaint.bsky.social · 15d

Putto https://clevelandart.org/art/1968.64.1

Putto

CMA: Medieval Art @cmamedieval.bsky.social · 2d

Hours of Queen Isabella the Catholic, Queen of Spain: Fol. 55r https://clevelandart.org/art/1963.256.55.a

This manuscript was illuminated by a circle of at least five highly organized manuscript painters active in the Flemish cities of Ghent and Bruges. The principal illuminator was Alexander Bening, who painted the majority of the book's miniatures. Manuscripts produced by this circle of artists are renowned for the decoration of their borders, which typically feature a rich variety of realistically-painted flowers, birds, and butterflies. This prayer book, called a book of hours, was intended not for a cleric, but for the private devotions of a lay person-in this case, Isabella the Catholic, Queen of Spain (1451-1504). Isabella's coat of arms embellishes the book's frontispiece. It is unlikely that the book was commissioned by the Queen herself; rather, she probably received it as a diplomatic gift from someone courting her patronage, perhaps Cardinal Francisco Jimenez de Cisneros. A Franciscan friar, Jimenez was dependent upon Isabella for his advancement, first to the post of Queen's confessor in 1492, and then to Archbishop of Toledo in 1495.

CMA: Medieval Art @cmamedieval.bsky.social · 2d

Rowel Spur https://clevelandart.org/art/1916.1568

Rowel Spur

CMA: Medieval Art @cmamedieval.bsky.social · 2d

The Gotha Missal: Fol. 87v, Text https://clevelandart.org/art/1962.287.87.b

This elegant Latin manuscript is known today as The Gotha Missal after its eighteenth-century owners, the German Dukes of Gotha. The volume was originally copied and illuminated in Paris around 1375 -- a commission of the Valois king, Charles V "the Wise" (1364-1380), one of the great bibliophiles of the fifteenth century and brother of Dukes Philip the Bold of Burgundy and Jean de Berry. Manuscript missals were not intended for the lay user, but rather for the use of the celebrant at Mass. The present volume was therefore meant to be used by the king's private chaplain and was probably housed in Charles's private chapel, possibly in his principle residence, the Palace of the Louvre (demolished in the sixteenth century). The main decorative body of the missal consists of two full-page miniatures comprising the Canon of the Mass and twenty-three small miniatures. The style and high quality of the decoration points to its inclusion withing a select group of manuscripts accepted today as from the hand of Jean Bondol. Bondol was active at the court of Charles V from 1368 until 1381 where he headed the court workshop and also served as the king's valet de chambre. The blind-tooled leather binding dates to the fifteenth century.

Reposted by CMA: Medieval Art

Claude Monet @monet.bsky.social · 16d

Waterloo Bridge, the effect of the sun in the mist - 1902
https://botfrens.com/collections/41/contents/3110600

CMA: Medieval Art @cmamedieval.bsky.social · 3d

Hours of Charles the Noble, King of Navarre (1361-1425), fol. 290v, St. Dominic https://clevelandart.org/art/1964.40.290.b

This precious volume was obviously highly prized by its owner, the French-born King of Navarre, who had his coat of arms painted on no less than twenty folios. Rather than directly commissioning this manuscript from a specific workshop, it seems that Charles the Noble acquired his book of hours -- perhaps ready-made for the luxury market -- while on a trip to Paris in 1404-05.

A collaborative effort, six painting styles are evidenced within the pages of this codex, those of two Italians, two Frenchmen, and two Netherlanders. The painter who was responsible for the planning and decoration of the book, and who produced seventeen of the large miniatures, was a Bolognese artist known as the Master of the Brussels Initials. His principal assistant, responsible for most of the borders, was a Florentine who signed his name "Zecho" da Firenze on folio 208 verso.

CMA: Medieval Art @cmamedieval.bsky.social · 3d

Book of Hours (Use of Rouen): fol. 85v https://clevelandart.org/art/1952.227.85.b

Book of Hours (Use of Rouen): fol. 85v

CMA: Medieval Art @cmamedieval.bsky.social · 3d

Hours of Charles the Noble, King of Navarre (1361-1425): fol. 260v, St. John the Baptist https://clevelandart.org/art/1964.40.263.a

This precious volume was obviously highly prized by its owner, the French-born King of Navarre, who had his coat of arms painted on no less than twenty folios. Rather than directly commissioning this manuscript from a specific workshop, it seems that Charles the Noble acquired his book of hours -- perhaps ready-made for the luxury market -- while on a trip to Paris in 1404-05.

A collaborative effort, six painting styles are evidenced within the pages of this codex, those of two Italians, two Frenchmen, and two Netherlanders. The painter who was responsible for the planning and decoration of the book, and who produced seventeen of the large miniatures, was a Bolognese artist known as the Master of the Brussels Initials. His principal assistant, responsible for most of the borders, was a Florentine who signed his name "Zecho" da Firenze on folio 208 verso.