Illustration: Illumination from a manuscript, 12th century.
Sometimes it is tempting to see the medieval gothic revival of the nineteenth century in the same light in which it was clearly intended, at least by some of the purveyors of the movement; that of a reconnection with the arts and mind-set of the medieval period, a joining of two cultures in one foul swoop. That this was near impossible did not change the fact that a number of passionate individuals wished it to be so.
The medieval world that was actually displayed by the people of the period is usually one that is very different from that portrayed by the nineteenth century artist or designer. The Pre-Raphaelite medieval world for example tends to be one that has few real factors linking it to the zeitgeist of the period. There is little if any immediacy, bawdy humour, irreverence for the pompous or general joy of life that is so often portrayed in medieval manuscripts and decorative panels. The Victorian ideal of the medieval, at least in art and decoration, seems much more in tune with one of romanticised posturing, beautifully portrayed but somehow lacking in humanity.
Illustration: Illumination from an Anglo-Norman Psalter, 12th century.
As far as the practical decorative arts were concerned, there was an attempt to both understand and then represent the ideals that lay behind medieval decoration, while at the same time reflecting the different mind-set that was an ever-present factor of the gulf between the two eras and cultures.
One of the more obvious factors concerning decoration as seen in these five examples from the twelfth century is the general lack of studied perspective. This does not mean that perspective did not exist in the medieval world at all; it is clearly a factor if sometimes rudimentary, in all of these examples. However, we are often led to believe that the renaissance rediscovered perspective wholesale, placing an instant gulf between work produced during that era from that of the medieval. In some ways it was much more a case of finalising perspective, much of the work produced during the period verging on the obsessional, with a need to represent perspective in such detail as to produce work that was coldly clinical in its accomplishment. It could be said with some truth, that the medieval world was fully aware of the practical aspects of perspective by just merely observing the real world, but as far as art and decoration were concerned, they chose to place more emphasis on stylisation rather than cold reality. In the same respect, it could be said that our own contemporary world of fine art and decoration, places very little emphasis on perspective and realism, but this does not mean that we are incapable of understanding the concept because we wish not to express it.
Illustration: Illumination from a manuscript produced at Silos Monastery, near Burgos, 12th century.
Medieval work particularly that produced in book form paid much more notice to the narrative. Sometimes this was immediate with work showing a momentary frame of time in the story; others seemed to show more than one scene being played out in the same picture despite the fact that the scenes may well have occurred at different times in the story. It was perhaps this fluidity with the narrative, composition and structure of art and decoration, the playfulness and ingenuity of figurative and non-figurative art, that in some ways makes the medieval artistic mind seem closer to our own than that of the nineteenth century, and it certainly seems closer in understanding than that of the renaissance.
Illustration: Illumination from an Anglo-Norman Psalter, 12th century.
However, the nineteenth century did take on elements of the immediacy and graphic quality of medieval decorative art work, although there was obvious reluctance in many parts to the letting go of the traditions of classical training and comfort in the well-rounded form. It was somewhat later in the century, with the influx of Japanese artwork and illustration that graphic qualities began to be seen on a much larger scale, particularly within European graphics and illustration. However, the interest in medievalism during the mid-nineteenth century must have produced some scope for decorative artists to both experiment and project the ideals seen within medieval work and for this to then percolate over the century. This can be seen on a much more immediate and wide-ranging scale when considering the surface pattern produced in the textile and wallpaper industry from the mid-nineteenth century onwards.
Illustration: Illumination from a manuscript, 12th century.
The second obvious factor of these medieval works is the purity and simplicity of colour. The beautifully clear and concise quality of the colour workmanship, particularly when seen within the illuminated manuscript, probably had more influence on the decorative arts of the mid-nineteenth century period, particularly when concerned with surface pattern. A W N Pugin for example, was a particular fan of clear and concise colour fields, as was William Morris. Both understood the attraction, both aesthetically and practically of a limited colour palette uncluttered with invasive and time consuming processes of tone production. Although Morris moved away somewhat later into increasing complexity, Pugin was always true to the medieval spirit of simple and clear flooded colour fields.
The artwork of these five medieval pieces contains a combination of simplicity, confidence, playfulness and an innate understanding of stylised expression. These were features that were both lost and misunderstood by generations that counted the renaissance as their foundation. It is perhaps since the breaking down of classically inspired artistic and decorative barriers from the latter half of the nineteenth century onwards, that has allowed us to fully appreciate the wide range of decorative and graphic skills that were so much a part of the this period. More importantly, it has allowed us to begin to fully comprehend the rich layers and character of humanity that was so much a part of the medieval world and so instantly recognisable in so much of their art and decorative work.
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