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Rosie Mitchell
Faculty of Arts, University of Cumbria, UK
The Eleventh Century 1000 -1100
European art in the High Middle Ages was created largely in relation to religion, both in its
content and purpose. Christianity had developed into the most prevalent religion and the Church
at this time was Europe’s primary source for culture and structure. There were no centralised
governments in Europe at this point and so the Catholic Church formed the only large organised
body. Consequently the monasteries and churches that accompanied Christianity became the
most powerful establishments within Europe. Churches were the main source of literature, art
and education and as a result of this had most control and effect on art and architecture. The
spread of Monasticism resulted in an unprecedented growth in the number of such churches
throughout the eleventh and twelfth centuries. Continuous disparity between the Orthodox
Church of Byzantium, led by the Patriarch of Constantinople, and the Roman church, led by the
Pope led to an official split in 1054. In this ‘Schism’ the east and west churches split into the
Eastern Orthodox and Western Catholicism.
Alongside this 11th century Europe saw the shuffling of powers and empires. In Northern
Europe the century saw the decline of Byzantine power and the beginning of Norman
domination in Europe.
The Domesday Book was compiled under William I, introducing a system of feudalism,
organised capitalism and a more sophisticated, commercialised culture to Europe. In Eastern
Europe the Byzantine Empire, which despite passing its peak and beginning its slow decline,
continued to dominate and secure its hold over the east with the acquisition of Bulgaria. In
Southern Europe mainland Italy was divided between Byzantine and Lombard rule and Northern
Italy which was a collection of independent city-states under the influence of the Ottonian
dynasty. Again the influence of the church was strengthening under the growing role of the
Papacy within society as it liberated itself from the domination of the Holy Roman German
Empire. Transference of authority of the Holy Roman German Empire from the Saxon Emperors
to the Franconians in 1024 saw a determination to re-establish western authority over Rome
and to overcome the Byzantine Empire and the Muslims of Sicily.
The dominance and power of religion and religious figures is reflected in the art works produced
at the time. The art of the Byzantines, which had emerged from Christian art in about 500 AD,
continued with relatively few changes despite the slow decline of the Empire, remaining a
dominant force in the production of art and architecture in those countries which fell under its
control. It is regarded as some of the finest art of the middle ages in both its quality and
workmanship. Some of the most highly regarded features of Byzantine art are the immense
frescoes and mosaics inside domed churches. Few of these have survived to modern day
making those which have even more valuable.
The other dominant art styles developing from this period include Pre-Romanesque art which
covers the period from the rule of Charlemagne in 800 A.D. to the beginning of the
Romanesque period in the 11 century. These styles show influences from the Roman Classical
period as well as Carolingian art and developed in conjunction with the rise of Monasticism in
Western Europe.
Romanesque architecture was the first distinct style to develop across Europe since the Roman
Empire and it was the first time distinctive Roman features were used. The Romanesque was
much more than a re-visit to a Roman style. It combined classical influences with those of both
the Byzantine style from the east and the Insular style of Northern Europe.
Monasteries and city churches remained very important, but those on pilgrimage routes also
encouraged the building of smaller churches in towns and villages, often elaborately decorated
in the style of the Romanesque. The continual movement of people during this period including
homogeneity in building methods and a distinctive Romanesque style, recognisable despite
regional differences.
The history of Austria’s fine arts is rich and varied largely due to its geographical location,
situated between German, Eastern European and Mediterranean lands. Like most other
European countries most Austrian art produced in the medieval period revolved around the
church. Illuminated manuscripts remain the only surviving artefacts of artistic work from the
previous Carolingian period. The most significant of these is a richly illuminated copy of the four
Gospels called Cutbercht Evangeliar. The 11th and 12th centuries witnessed the peak of the
Romanesque style in Austria. Buildings dating from the early part of this period include
churches at Ossiach, Millstatt (1060-1088) and Göß.
The capturing of Bulgaria, one of Europe’s oldest countries, by the Byzantines in 1018 marked
the end of the first Bulgarian State. The domination which followed lasted for 170 years. The
implications of this on Byzantine architecture is best seen at the monastery of ‘St. Mother of
God Petrichka’ founded during the later half of the century by a prominent Georgian statesman
and military commander in the Byzantine service.
The Ossuary of the monastery is the oldest surviving architectural and artistic object created in
Bulgaria during this period, and as such is an important monument of Byzantine architecture,
surviving the monastery itself which was destroyed and then rebuilt in the 15th century. The
Ossuary is one of only 10 similar monuments of that time, when monks had to be taken outside
of the monastery to be buried. It contains frescoes painted in the Byzantine-Komnin style with
conventional images, hollow cheeked faces, static postures and conventional backgrounds. All
of the images are didactic, spiritual and transcendental in subject.
The artist, according to researchers, is Ioan Iveropulec or Iveropulis, most probably of Georgian
origin who received excellent education and training in mural art. Consequently the monastery
and frescoes are an important combination of Byzantine, Georgian and Bulgarian culture.
The Bachkovo Monastery
The Baltic Regions: Estonia, Latvia and Lithuania
The 11th century Baltic region remained largely pagan in it’s beliefs and culture. The art from
this period continued the same as that of centuries before it. During the Middle Ages the Baltic
Countries fended off the various attempts of the Christian world to enforce Christianity until the
Crusades late in the 12th century. Chrisitanity was not as needed in the Baltic Countires as it
was in Western Euopre. The harsh conditions of the Baltic Regions meant life concentrated on
physical rather than cultural survival and until this political move became a necessity Chistianity
was rejected. The arts of these regions likewise remained tribal, pagan and purposeful. For
example, aside from various pagan artefacts, Lativan art of this time was largely functional such
as domestic objects often decorated with geometrical decorations depicting essential natural
things such as the sun, the moon and fertility symbols. Jewellery also made an appearance at
this time.
The Romanesque sculptures and ecclesiastical architecture of 11th century France placed her
at the head of the artistic nations. The most important example of French Romanesque
architecture during this period was the Benedictine Monastery at Cluny in Burgundy. Created
around 1085-1088 during the height of Cluniac influence, the church became the epitome of the
Romanesque style and the model for Benedictine churches throughout France. This monastery
was the biggest church in the west and the most prestigious and richest institution in Europe at
this time. As a consequence of the destruction of the monastery during the French Revolution
the best example of the French Romanesque today can be seen in the Cathedral of SaintSernin in the southern city of Toulouse. A further important example of the French Romanesque
is Angoulême Cathedral (Cathédrale Saint-Pierre d'Angroulême) with its façade containing over
70 sculptures. This demonstrates the evolution and mingling of the Romanesque with Byzantine
styles. It was France’s location as the centre of various pilgrimage routes which led to the
erection so many churches at this time and it was in these pilgrim churches that Romanesque
sculpture developed. The sculpture is characterised by its highly stylised depictions of natural
forms adorning columns, capitals, cloisters, crypts and most prominently the tympanum over the
main west door leading to the central aisle of the church. The most common depictions were
themes appropriate for pilgrims such as scenes from the life of Christ. An example of this can
be seen in the carved tympanum at the church of Saint Pierre in Moissac.
The union of Germany and Northern Italy under a German Emperor became known as the Holy
Roman Empire. Both Germany and Northern Italy were energetic patrons of the arts and so
alongside the enthusiasum for the idea of Empire developed a new energy for artistic and
cultural development. The 120 year period of the German Pre-Romanesque (from 936 to 1056
A.D.) has become known as Ottonian art, after the succession of Emperors named Otto (Otto I,
Otto II, and Otto III) who ruled the Holy Roman Empire from 936 to 1001 A.D. It was the
dynasty's desire to establish a visual link to the Christian rulers of Late Antiquity and thus
strengthen their status. Consequently the Ottonian arts combined styles of Late Antique,
Carolingian, and Byzantine origin. The church of St. Michael of Hildesheim in Germany marks
this revival of building activities in the Ottonique Empire that began at the beginning of the 11th
century. The church was built around 1010 to 1022 A.D, in the time of Bishop Bernward, who
was the educator of Emperor Otto III. St. Michael's Church is one of the most important
churches in Ottonic (Early-Romanesque) style and belongs amoungst the most important
clerical buildings in Germany.
Church of St Michael of Hildesheim
From 330 until 1453 Greece was under Byzantine rule. Although Byzantine art had grown from
the art of Ancient Greece it has very distinguishable features: The humanistic ethic found in
Greek art was replaced with a religious ethos as the glorification of man was replaced with the
glorification of God. The most important form of Byzantine art was that of the icon. Under the
rule of the Byzantine Empire Greece experienced a dramatic turn of economic growth. This
increase in wealth resulted in a great period of urbanisation in Greece as well as a greater
demand for art. The 11th and 12th centuries were a golden age for Byzantine art in Greece.
Schools of Architecture sprang up in the provinces producing most of the important Greek
Byzantine monasteries and churches. These included the monasteries at Hosios Lukas and at
the Daphni Monastery near Athens (ca. 1050) who’s lavish decorations of carving, gold and
silver plate, murals, mosaics, icons, chandeliers, silk curtains, and altar cloths was renowned all
over the Byzantine Empire.
Hungarian art developed in close connection to European art and demonstrates both European
and Byzantine influences. As elsewhere in Europe, Hungarian painting of this time was mainly
created on the walls of religious buildings. Over 550 buildings were decorated with medieval
and early Renaissance frescoes, most of which were destroyed along with Romanesque
churches during Ottoman rule. Due to this the richest source of frescoes are found in the
villages of Hungary that escaped the destruction such as the church of Hidegség. The earliest
surviving frescos from the Romanesque period, found at the Lower Church of Feldebrő, show
influences from Italian and Byzantine painting. Differences in styles and content of frescoes are
mostly found in the Carpathian Basin but there are also discernable differences in local styles
and iconographic approaches. Byzantine influence is also found in Hungarian architecture of
this century and in particular the ground plans and carvings in churches founded at this time.
Examples of this can be found at Feldebrő and Szekszárd. There appears to have been a great
boom of Hungarian architecture towards the end of the century.
For Italy the 11th century brought the end of the darkest period in the Middle Ages. Trade slowly
picked up, especially on the seas, and the four Italian cities of Amalfi, Pisa, Genoa and Venice
became major powers. The Papacy regained its authority, and started a long struggle with the
Empire over both ecclesiastical and secular matters. An important example of Italian
architecture during this period is the Cathedral of Modena, which sits comfortably between the
Byzantine art and architecture in Italy and that of the Romanesque. It is considered a
masterpiece because it demonstrates the structural and spatial characteristics of the current
dominant styles, creating a bridge between Byzantine and Gothic. Work on the Cathedral began
in 1099 A.D., under the direction of the master builder Lanfranco. It started over the site of the
sepulchre of Saint Geminianus, Modena's patron saint.
The Cathedral of Modena
The Netherlands
By the 11th century The Netherlands was divided into two distinct regions, the Northern region
which is usually referred to as the Netherlands, compromised of today’s Belgium, Netherlands
and Luxembourg and the Southern region including Flanders and Belgium the art of which is
generally called Flemish. However the term ‘Flemish’ when applied to this period is often also
used to include the Northern regions. This is due to the reliance of the Northern regions upon
the densely populated and productive south which produced most of the art and culture from the
medieval period. Flemish architecture in the medieval period generally followed the mainstream
Christian, Carolingian and Romanesque European styles. Romanesque architecture developed
into four distinct regional forms in the provinces of Scheldt, Utrecht and in the regions of
Groningen and Friesland. Each of these forms displays influences from the surrounding
countries. Meuseland, the name given to the form which developed in the province of Scheldt, is
characterised by the appearance of the Carolingian Basilica Plan. Examples of this are found at
St. Servatius at Maastricht; and a number of churches at Nivelles including Saint-Denis, SaintBarthélemy, Saint-Jean, and Sainte-Gertrude. This style would also develop Rhenish
tendencies towards the end of the following century. The Meuseland style is also found in the
districts of Groningen and Friesland where it is combined with the styles of Northern France.
Similarly the architecture of Utrech infuses Rhenish and Meuseland along with Ottonian, as
seen at St. Peter’s at Utrecht, Grote Kerk at Deventer, and St. Martin at Emmerich.
11th century Poland saw the new ‘Kingdom of Poland’ become Christianized under the Piast
dynasty. This period witnessed the Slavic mythology-based culture of Poland replaced with by
Christianity. Churches appeared all over Poland forming part of an ecclesiastical network which
had spread by the twelfth century to include eight dioceses and about one thousand parishes.
As in the rest of Europe the new architecture for these holy buildings was constructed in the
Romanesque style. Over 100 Romanesque churches have survived including the Round
Building of Cieszyn, one of the oldest and most precious monuments of this period and
representative of a wide synthesis of art of the 11th century. Another important surviving
building is the Church of Mogilng which, although rebuilt in later centuries, retains many
Romanesque parts and features such as pillars, parts of walls in the nave, and a particularly
well preserved apse and two crypts.
Round Building of Cieszyn
11th century Portugal had been under Moorish Islamic rule since the year 711. Art and
architecture of this period is strongly influenced by this Moorish presence. This was especially
found in the art produced in Southern Portugal where the recapturing of Portuguese territory
under Christian rule, the Reconquista, wasn’t completed until 1249. Unlike in Spain few Moorish
structures have survived in Portugal to modern day. The Islamic style remains apparent in both
the lasting street layout and the simple white façades of the houses and neighbourhoods of
many villages and cities such as Lisbon. Many of the buildings are constructed in the adobe
techniques reminiscent of villages in Northern Africa which saw houses of sand, clay, water and
natural binding materials left to dry in the sun and then whitewashed. During the Reconquista
Christian art was restricted to a small amount of paintings in religious buildings and palaces. By
the end of the 11th century, as the Reconquista regained parts of Northern Portugal, the
Romanesque was introduced and several influential structures began construction. For example
as the Bishopric of Braga was restored around 1071 work began on restoring the Braga
Cathedral which had fallen into decline during Islamic rule. The Monastery of Rates was
likewise restored towards the end of the century (around 1096) under Count Henry, of the
Condado Portucalense. This monastery still stands as one of the oldest Romanesque
monasteries in Portugal. The work executed at Braga and Rates remained influential in
Portuguese architecture through the following centuries.
By the 11th century Romania was divided into three distinct regions, these can be seen as
modern day Translyvania, Walachia and Moldovia. Large parts of this were under the
Hungarian rule of King Stephen I whose control was largely established over the region of
Transylvania. Due to the persistence of various foreign rulers the mediaeval fine arts and
architecture of Romania shows traceable influences of Western trends combined with both local
and Byzantine traditions. In architecture in particular such influences are stronger in
Transylvania than in Moldavia and even less frequent in Wallachia. The first truly Romanesque
churches would not be built until the 12th century.
The Scandinavian Countries
The Scandinavian countries, Denmark, Sweden, Finland and Norway are often grouped
together in history as they have an interwoven past sharing many of the same features. The
early 11th century falls under the era known as the Viking period which lasted from 800-1050
A.D. Viking art, also known as Norse art, bears a similarity to other Northern European trends
most notably those of the Insular art of the British Isles. The six identifiable styles of Norse art
are Oseberg, Borre, Jellinge, Mammen, Ringerike and the Urnes style. Animal forms and
sophisticated geometric design are prominent characteristics of most of these forms. The
Christianisation of the Scandinavian countries that dominated Scandinavian culture by the
middle of the century inevitably introduced Christian art forms. The most prominent of these was
the building of churches. A style of wooden mediaeval church building developed called
stavkirke, or stave church, which was unique to the Scandinavian region. Characteristics of the
stavkirke are picturesque steep roofs and elaborate carved decoration. Almost all of the
remaining examples of these churches are found in Norway where they had been built in the
largest numbers. As Christianity grew in its dominance churches also became the focus for
other art forms such as wall hangings and carvings.
By the 11th century Spain had been ruled by various invaders. After 800 years the northern
territories of Islamic Spain (al-Andalus) were gradually losing some of their power to the unifying
Christian forces. However Spain would remain under Islamic rule until the mid 16th century.
Nevertheless this was a time of peace when Christians, Muslims and Jews generally lived
together amicably. It is often considered that due to both its political isolation and the recent loss
of lands to the Christian world that the art produced in Islamic Spain in this period is less
creative and energetic than that of other parts of Europe. Instead it looked backwards to
masterpieces created during the golden age of Islamic rule, drawing on traditional methods,
materials and forms. This is particularly seen in the areas of architectural decoration, calligraphy
and the decorative arts. Despite these criticisms al-Andalus was to become a great cultural
centre, a hub for the arts, as well as universities, teaching, philosophy and sciences that
remained unknown to Christendom. Islamic architecture constructed in Spain during this period
is called Moorish and the most important examples of this period include the Great Mosque of
Cordoba and the city of Medina Azahara. The end of the century saw new influences of the
Magrhebi within the artworks produced. Distinctive features specifically in the manufacture of
objects included a taste for painted and sculptured woodwork and the extensive use of ivory for
the manufacture of boxes.
England in the 11th century witnessed the defeat of the Anglo-Saxons by means of the Norman
invasion. The most useful and celebrated artwork of England from the 11th century celebrates
this; the Bayeux Tapestry is the story of the Norman invasion of England in 1066 A.D.
Embroidered on a scroll of linen 70 metres long and half a metre wide, it provides an important
pictorial image of the 11th century. The tapestry is thought to have been commissioned by
William of Normandy’s half-brother, Bishop Odo in 1070 A.D. as a piece of propaganda
designed to celebrate the Norman victory but there is dispute over the origins of the creation of
the tapestry. Although there are theories that it was created by William the Conqueror’s wife
Queen Matilda there is evidence to suggest that the tapestry was actually created in
Canterbury, Kent, a known centre for tapestry and embroidery of this type. This theory gains
credibility with close examination of the tapestary. It is stitched rather than woven creating a
large embroidery comprised of coloured wools hand-worked into pieces of linen, a style
characteristic of English art of the time and unusual outside England. There is also dispute over
the historical accuracy of the tapestry, made worse by the fact it was created as a piece of
propaganda several years after the event. Despite these issues the Bayeux Tapestry remains
not only the largest pieces of English needlework of this type but continues to be a useful
source depicting insights into the everyday life and development of Anglo Saxon Britain. It
displays a record of the way 11 century people reflected on their world and it continues a
tradition of narrative artworks which were to become a distinguishing trait in England throughout
future centuries.
Bayeux Tapestry, detail
The Twelfth Century 1100 - 1200
The 12th century was a time in which secular art came into it’s own in Europe. This was due to
a number of reasons including increased trade, an established money-based economy, a
growing bourgeois class with an enhanced literacy level and a growing number of universitybred patrons with both money and a desire to commission artworks. As a result there was a
proliferation of paintings and illuminated manuscripts in Europe.
The beginning of the century saw the style of the Romanesque become the first style to impact
the whole of Catholic Europe. This style was spread by way of pilgrimage and war through the
Christian Crusades such as those of the Knights of Templar. As a result cathedrals and
monasteries appeared in abundance throughout Catholic Europe. To help represent the
Christian power the general impression of Romanesque architecture is one of strength and
solidarity. Other features of this style include different forms and shapes of towers, an interest in
rebuilding or enlarging the basilica to accommodate the increased number of celebrants viewing
relics, arcading and stone sculpture as exterior decoration and geometric decorations on the
interior, and importantly an acceptance of regional differences in the implications of the style.
In parts of Europe the 12th century also saw the last golden age of the Byzantine period. Within
the Palaeologan Period, so called after the Palaeologan Dynasty of the time, a new art aesthetic
arose. The previous austere attempts to mimic reality in artworks were replaced with more
symbolic images almost abstract in character. Likewise less austere icons were being produced
displaying a new appreciation for the purely decorative qualities of artwork. Further to this the
cultural exchange with, and influence of Italian artists, resulted in a refocus of subject matter on
the pastoral and landscape, again less religious in its nature.
The middle of the century saw the development of changes, first in architecture and then 50
years later in artworks, known as the Gothic style. This new style grew from the Romanesque
and was heavily influenced by the Normans. During the 12th century the Gothic, which became
the first French style to dominate Europe, was known as ‘The French Style’ since it began in
Paris. The distinguishing features of the new architecture were its use of pointed spires, and
opening up of large, light and spacious interiors. This was made possible with the use of flying
buttresses, thinner columns and, in order to support the great size of the structures, ribbed
vaults capable of spanning large areas. The distinguishing feature of the Gothic image was its
narrative quality, an abundance of which elaborately adorned the exterior and some interiors of
the architecture. Within these elaborate decorations Gothic sculptors moved away from their
Romanesque predecessors by creating independent freestanding statues rather than reliefs.
The Gothic style became popular throughout Europe due to its promotion by the Cistercians, a
monastic order founded by St. Bernard of Clairvaux who had a dislike of the Romanesque. As
might be expected, and as it was with the Romanesque, the development of the Gothic within
each region was heavily affected by local influence creating variations within different areas of
Europe. While The Crusaders helped spread the style through Eastern Europe the style in the
West was developing rapidly. Good French and English political relations meant the Gothic
quickly took root in England and the style was quickly spread to the Iberian Peninsular. The
style had a similarly great impact in Germany, which was to become the centre of Gothic
architecture. Italy remained the only western European country where the French Gothic
maintained less hold, instead developing its own very unique architectural interpretation of the
The 12th century saw the height of the Romanesque style in Austria. Important treasures of this
time include the Admont Bible (created around 1140) and the work of the goldsmith Nicolas de
Verdun, his most notable creation being the enamel work of the pulpit at Klosterneuburg Abbey.
Vienna had become an important city for German civilisation by the mid 12th century. The most
important religious building in Vienna, St Stephen’s Cathedral, was built to reflect Vienna’s
urban growth and importance. The original Romanesque structure was built in this period with
Gothic expansions occurring over the following centuries.
The frescoes at the Ivanovo Rock-Hewn Churches in God’s Gorge demonstrate the continuing
dominance of both Byzantine control and culture in Bulgaria in the 12th century. The images
were created at the beginning of the religious community in the area, and were created by
monks and hermits under a vow of silence. The images are an example of the Palaeologan
style. Features include the appearance of three-dimensional images which are very spatial in
their environment, figures which are more proportionate to their surroundings, attempts at
presenting the anatomy of the figure, images containing an element of narrative through the use
of motion and changes in the style of decoration. Importantly there is also a degree of variation
in Bulgarian style and interpretation found in the images. The anonymity of the artists during this
period was common in Bulgaria.
Frescoes at the Ivanovo RockHewn Churches
The Baltic Regions
By the 12th century the Baltic countries were more integrated into European society although
Christianity continued to be rejected until the Christian Crusades of the late century. During this
time wooden castles were constructed throughout Lithuania, none of which have survived
today. From the middle of the century the capitals of Latvia and Estonia, Riga and Tallinn were
growing in their importance as centres for trade. By the end of the century Pope Celestine III
had called for an end to paganism in Europe which brought both the Crusaders and Christianity
to the Baltic regions. From this point on the art of the Baltic regions would conform to that of
mainstream Christian Europe.
The Czech Lands
The Romanesque style played the most significant role in Czech art and culture from the 12th
until the 13th century. A well preserved example of this can be found in the windows of the
Bishop’s Palace at Olomouc, most likely the work of stonemasons from Italy. Another example
can be found at the triptych of St. George’s cloister at Prague Castle. As in the rest of Europe
Czech Romanesque churches were decorated with frescoes. Those of St. Catherine’s rotunda
in Znojmo, are the oldest and most significant of these. Similarly, illuminated manuscripts
enjoyed great popularity in the Czech lands during this century. An exquisite example of this is
the Vyšehrad Codex. This illuminated manuscript Gospel book was created to honour the
coronation of the Czech King Vratislav.
12th century France was the source of the style that was to dominate artistic Europe for the next
200 years. ‘The French style’ known as the Gothic developed in Paris in the mid 12th century
and soon became the dominant style throughout Europe. The style prevailed in France itself
until 1500 and progressed through several different style developments: Early Gothic, High
Gothic or Rayonnant and the Late Gothic or Flamboyant style. The 12th century saw the
development of the Early Gothic from the Romanesque around 1140. The main characteristic of
this style was the adoption of the pointed arch. The first building which brought together all the
various elements of the Gothic can be seen at the choir of the Basilique Saint-Denis north of
Paris, built by the Abbot Suger constructed between 1140 and 1144. Most notable features of
this cathedral are the first use of large areas of glass combined with a thoughtful organisation of
space as well as the birth of Gothic sculptures on the walls of the abbey. The successes of
Saint Denis can be seen in its immediate influence in other Gothic buildings such as Sens
Cathedral, Notre-Dame of Laon, The West facade of Chartres Cathedral, Lyon Cathedral and
Toul Cathedral. The 12th century also saw the early construction of the Gothic’s most famous
structures, The Notre Dame de Paris which began in 1163.
12 century German art and architecture was dominated by the Romanesque style, and
towards the end of the century the French Gothic. The Brunswick Lion is an important example
of Romanesque sculpture and metalwork. It was the first bronze hollow-casting and the first
freestanding figural monument since Antiquity. It is most likely the artists moulding the lion had
been inspired by Roman statuary. Since its creation in 1166 A.D. it has been the city of
Brunswick’s landmark. The lion was created to stand in Castle Square (Burgplatz) in the centre
of the city of Brunswick to fit with the Romanesque ideas of sculptural decoration as a symbol of
Henry the Lion’s power, royalty and stateliness. The Brunswick Lion differs from other lions
used for such purposes in its unaggressive and submissive nature, paying respect to Henry the
Lion’s authority. Other important artworks of this period include the bronze effigy of King Rudolf
of Swabia in the Merseburg-Cathedralas, the earliest example of a life sized funerary figure,
and the reliquary shrine of the Holy Three Kings at Cologne Cathedral which was created by
Nicholas of Verdun in about 1200 and has become one of the best-known examples of
medieval metalwork.
The Brunswick Lion
12th century Greece continued to be heavily dominated by Byzantine art. Mosaic art in
particular was revived in the Byzantine period. Mosaic art became more realistic and vivid often
depicting the landscape with particular emphasis on wild animals and hunting. Byzantine art in
this period was also the main source of inspiration for the West. This is seen in the building
plans and decorative forms of the Romanesque, the Mosaics of St. Mark's at Venice, in the
cathedral at Torcello, and throughout Hispano-Moorish art and architecture. A common type of
the mid-Byzantine architecture was the cross-in-the-square church. The most prominent
features of this is the central dome over a square area, from which radiated four equal arms of a
cross. An example of this is the Church of the Holy Apostles in Athens, which has survived
intact since its foundation, and was the first significant church of the middle Byzantine period in
Athens. The church marks the beginning of the "Athenian type”, which combines the simple
four-pier with the cross-in-square forms.
The art and artwork of 12th century Hungary was influenced first by the French Early Gothic and
then later by the Czech and German forms of this style. The main form of painting in the 12th
century continued to be the creation of frescoes such as those that demonstrate the Gothic in
Kakaslomnic, Szepesség and in the sanctuary of the Premonstrant provostal church of Ócsa.
An early example of French Gothic architecture can be seen in the chapel of the royal castle of
Esztergom, built at the turn of the century.
Cefalu Cathedral stands as a powerful signifier of the Norman presence in Sicily. Dating from
1131 A.D, the Cathedral is one of numerous churches built in Sicily under 12th century Norman
rule. The building sits powerfully overlooking a mediaeval town on the coast with a facade of
two characteristically Norman square towers. As a natural midpoint between the Eastern and
the Western Mediterranean regions, Sicily, after successive occupations, can be seen as a
melting pot of different cultures and races. The Normans, known to have accepted local
characteristics, often produced an idiosyncratic mixture of styles, and the Cathedral of Cefalu
demonstrates such synthesis of cultures. While the Romanesque exterior of the Cathedral is
characteristic of Sicilian architecture of the period, the interior contains the oldest Byzantine
mosaics in Sicily, an influence of Byzantine control of Sicily from the 6th to the 9th century. The
Cloister with its binal columns surmounted by pointed arches dates from about 1162-70 A.D,
and is the first of its kind in Sicily
The Netherlands
In the 12th century, Flemish architecture echoed the artistic developments of mediaeval
mainstream Europe. The style of the Romanesque persisted throughout most of the century
gradually developing into the Gothic. An important example of the Late Romanesque and Early
Gothic which began construction in the 12th century is the cathedral at Touriai. The cathedral
demonstrates the transition of Romanesque to Gothic. The Cathedral has a Romanesque nave
(built during the first third of the century), an Early Gothic transept (added mid century) and a
distinctly Gothic choir which replaced the Romanesque choir in the 13th century. The church
displays several unique features which would later become adopted in the French Gothic
churches such as the 4 storey elevation of the ‘viaduct’ structure in the nave and its five bell
towers. In other crafts, metal and enamelwork was developing with the work of Rainer of Huy,
Godefroid de Claire, and Nicholas of Verdun.
The elaborately decorated bronze Gniezno Doors which sit in Gniezno Cathedral in Poland
provide evidence of the importance of the continuing dominance of religion in 12th century
Europe. The beginning of the 12th century saw Poland as a fractured state following the death
of Boleslaw Chrobry.
The Christianisation of Poland and introduction of Latin ensured the acceptance of Poland into
the Western Christian family and helped heal any divisions. Christianity therefore was as
dominant in Poland as in the rest of Europe. The illustration on the Gniezo Doors shows the
importance of St. Adalbert as a moral guide for the people in the capital of Poland.
The significance of the doors is its representation of the concentration of religious notions and
morals throughout Euoprean society, a feature of Christian art of the time. The embossed
images on the door fit within the Romanesque style. Of equal importance in Polish architecture
at this time is the Prokop church in Strzelno.
Today it remains the biggest Roman church in Poland and contains recently discovered unique
Roman columns with figural bas-relief. Columns of this nature have only been found in the
Cathedral of Jacob in Santiago de Compostella or in Cathedral of St Marco in Venice.
The 12th century saw the Reconquista gradually edge through Portugal from north to south,
ushering the Romanesque style of building cathedrals and castles across the country. The
constructions at Braga and Rates remained influential architectural models in Northern Portugal
and notable Romanesque monastic churches arose at Manhente, Rio Mau, Travanca, Paço de
Sousa, Bravães and Pombeiro.
The Romanesque style followed the course of the Reconquista through to Southern Portugal.
Notable progression was made during the reign of Afonso Henriques who endorsed one of the
most important monastic foundations of the time, the Santa Cruz Monastery. Afonso Henriques
also supported Romanesque constructions at Oporto, Coimbra, Viseu, Lamego and Lisbon.
Of all these buildings it is only the Cathedral of Coimbra which remains unmodified in its original
Romanesque style.
The troubled times of the Reconquista resulted in the fortress-like characteristics of Portuguese
cathedrals, in particular distinctive crenellations and an absence of decoration other than those
over portals and windows. A unique example of this style is the Round Church constructed by
the Knights of Templar in the Castle of Tomar.
Building activity in Romania during the Middle Ages was limited to wooden churches and
monasteries, as well as princely seats or boyar mansions. Unfortunately, most of the old lay
edifices have not made it to present day having been destroyed by time, wars, earthquakes and
The Scandinavian Countries
By the 12th century the gradual Christianisation of Scandinavia was complete. Christianity had
been permanently established in all the Nordic lands and had brought with it a tradition of largescale architecture. Lund in Sweden gained the first Archbishop of the region in 1103. Lund also
became home to the most impressive of the Nordic Romanesque cathedrals, a style which
dominated from around 1150 to 1250. The rich decoration shows influence of both Lombardy in
Italy and the Rhein region in Germany and demonstrates the developing Scandinavian
connection with mainstream European arts. In Norway the most significant Cathedral built
during this period was the Nidaros Cathedral (Nidarosdomen) at Trondheim. The construction of
the Cathedral, beginning in 1070 and spanning the following centuries, is an early example of
how the Gothic would replace the Romanesque. Other examples of this shift can be seen in the
cathedrals of Linköping and Skara.
12th century Spain remained under Islamic rule but witnessed the loss of more territory to the
combined armies of the Christian kingdoms. Spain became fragmented into small principalities,
vulnerable to future invasion. The art produced during this time reflects the influences of the
coexistence of Muslim, Christian and Jewish cultures. This is demonstrated in the Mudéjar Style
of architecture and decoration that developed on the Iberian Peninsular during the 12th century
and would last until the 16th. Western cultural styles became reinterpreted through Islamic
influences, in particular the geometry dominant in Islamic art was reworked into tiles,
woodcarvings, brickwork and ornamental metals, bringing walls and floors alive with design.
Distinctive characteristics of this style were its use of brick and complicated tiling patterns,
unsurpassable in sophistication. Many of these styles continued to be present in Spanish
architecture. Northern Spain also produced some of the most splendid Romanesque wall
paintings: Spanish artists favoured formal symmetrical and hieratic compositions and strong,
barely-modulated colours and the human form with its drapery became more idealised and
abstracted than in other European painting of the time. In the 11th and 12th centuries many of
the forms developed by the Romanesque schools of the south of France were adopted for
Spanish churches on the pilgrimage route from France to Santiago de Compostela: The barrel
vault was generally used over the nave, and groined vaults covered the side aisles. Typical
examples include the collegiate Church of San Isidoro at León (11th cent.), the Old Cathedral at
Salamanca (begun c. 1140), and the Cathedral at Santiago de Compostela (c. 1075–1128), one
of the most popular pilgrimage churches of the period and the most grandiose of the Spanish
Romanesque buildings. Subsequent remodelling has obscured its original appearance.
Durham Cathedral combines some of the features of leading Norman architecture of this time.
These include pointed arches, flying buttresses, large windows and a stone ribbed vault, the
first in England of its kind. However, despite these Gothic features, Durham Cathedral is a
Romanesque building built before Gothic architecture took root in England and developed along
with a number of Norman buildings to replace the Saxon built structures and strengthen the new
Norman presence after its conquest of England in 1066 A.D. Similar architecture includes the
rebuilding of both Cathedrals of Canterbury and Ripon, and the repair of York Minster. The
significance of Durham Cathedral is its innovative roof design and its stone ribbed vault that
solved the problem of spanning a large roof space with stone rather than timber, thus creating a
large, powerful and spiritual interior. The use of such solutions makes the architectural style of
Durham Cathedral a precursor to the development of the Gothic within England. Durham
Cathedral also contains some of the most dynamic geometric decorations of any of the
Romanesque interiors. The defensive position of the large dominant structure represents both
the new authority of the Normans and the increasing dominance of the Christian Church in
Durham Cathedral
The Thirteenth Century 1200 – 1300
13th century Europe, situated in the middle of the mediaeval period, saw the dominance of the
Gothic style in architecture, sculpture, paintings and illuminated manuscripts. The 13th century
was also a time when the production of manuscripts fluctuated and paper, although does not in
any way replace parchment, became more commonly used.
From the 13th century the number of illustrated secular texts began to increase and flourish.
Illuminated manuscripts, named from the Latin word ‘illume,’ to ‘light up’ or ‘enlighten’, comprise
three main types of illustration, miniatures or small pictures (not necessarily illustrative of the
text), and decorated or historiated initial letters and borders. The illustrations, often full of birds,
plants and mythical beasts, reflect a refocus by artists on the study of nature over the
dominance of religion. While many monumental Gothic artworks have gone missing, a great
number of illuminated manuscripts have survived helping to fill in the Gothic record. One of the
most distinct features of the Gothic image was the proliferation of the narrative. This is
especially prevailant in secular works and Gothic illuminations.
Secular art came into its own during this period. Trade continued to increase along with the
bourgeoisie, and art was commissioned for reasons other than religion. The increase in literacy
and the spread of universities meant there was a growing body of secular, vernacular literature
which in turn encouraged secular themes in art. The formation of trade guilds and the
requirement of artists to be part of them have resulted in a good record of artist production from
this century.
The 13th century saw the rise of the Gothic mode of architecture in Austria. The predominant
influences at this time were from the French Gothic. Many Romanesque buildings were
expanded with new Gothic features. An example of this can be seen at Ruprechtskirche, the
oldest known church in Vienna where a new Gothic choir was added.
One of the first churches built entirely in the (French) Gothic style is the Minoritenkirche in the
Alstadt, the first district of Vienna.
The frescoes of the Boyana Church in Bulgaria represent the diminishing Byzantine influence in
Europe and are the only monument from the time of Latin domination. The frecoes are unique
in their innovative interpretation of the Canon. The frescoes were created by an unknown group
of artists collectively known as the Boyana Masters who came from the Turnovo school of art
which although is based on Byzantine art has distinctly non-Byzantine characteristics. The
frescoes represent a time of diminishing Byzantine influence on Bulgarian art and the beginning
of an individual direction of development.
The Baltic Regions
The 13th century saw the complete Christianisation of the Baltic Countries. The Crusaders
introduced the art modes and forms of mainstream Europe which at this time was the
Romanesque and the Gothic. In Estonia for example most of the building work of the period was
carried out by the Crusaders. Riga and Tallian became incorporated into the alliance of trading
and military cities that made up the Hanseatic League. Two important churches were built in
these cities at this time, St.Peter's Church in Riga and St. Olav's Church in Tallin which had the
tallest tower of mediaeval Europe. Riga became the first Baltic city to develop Gothic
architecture shown in the churches of St Peters and St James as well as Riga Cathedral. The
Hanseatic League introduced the Brick Gothic, common in Northern Europe due to the lack of
natural stone resources. The late entry of these countries into Christian art and architecture
meant the Romanesque somewhat missed the Baltic countries and is only really evident in
features of the Early Gothic churches. The Danes were responsible for the important castles
built during this period such as Hermann Castle (founded 1256) and Toompea Castle, while
church building was largely carried out by the Teutonic Knights. The result of this was the
creation of comparatively large churches with the double purpose of acting as fortifications.
Not all local culture was lost under Christianisation and Baltic art can be seen to mix many of
the ethnic characteristics of its pagan culture with the new Christian styles. In Latvia for example
tradtional stone and wood sculpture developed dramatically during the 13th century, mainly
through the patronage of the church. The ridged and roughly carved attempts of the
Romanesque period became gracefully refined as the Gothic progressed in the following
The 13th century was the time of the High Gothic in France. Early Gothic architectural styles
had matured to create light yet majestic structures that surged to extraordinary and unparalleled
heights. Changes were made to wall and window design, and they became enlarged to
incorporate the extensive use of stained glass. Likewise the flying buttresses had matured into
an ornamental and dramatic functional feature that provided support for the high walls. The
Notre Dame de Chartres (1194-1260) was the first to demonstrate the new features and other
High Gothic cathedrals quickly followed at Amiens, Bourges, Reims and Beauvais. By mid
century the style entered a new phase named the Rayonnant style and further changes were
made to wall surfaces to create graceful screens of stone tracery and glass. Almost entire walls
of glass were created in the Sainte-Chapelle in Paris and the Church of St. Urban in Troyes.
Gothic architecture could be seen to dominate the German style throughout the 13th century.
During the Gothic period, chimera or grotesque figures although ‘invented’ in Antiquity to scare
away demons, became much more prevalent and common. The job of these figures was to
guard the celestial city – as represented by the cathedral. Gargoyles, specifically, were
designed to remove water from the roof of the building and the delicate structure of Gothic stone
masonry made the use of such devices important. The frequent appearance of gargoyles in
13th century architecture is representative of the superstitious nature of Middle Age Europe.
Cologne Cathedral provides an impressive array of gargoyles with over 108 created in the 13
century and over the following 800 years. Another important artwork constructed in this period
includes the Saint-Elisabeth-Church at Marburg one of the very first hall-churches built in
Cathedral Gargoyl
The 13th century is seen as the late Byzantine period of rule in Greece, and the weakening of
rule after the sacking of Constantinople. It is usually referred to as the Palaeologeian era. The
Palaeologan Dynasty, beginning with Michael VIII Palaeologus in 1259 was a last golden age of
Byzantine art. The continuation of the prosperity of arts and culture was largely due to the
increased cultural exchange with Italian artists. Crete, which had been under Venetian rule
since 1211, played a significant role in importing and exporting style and work between Greece
and Western Europe. This influence can be seen in the new interest in landscapes and pastoral
scenes, and a replacement of traditional mosaic-work with detailed cycles of narrative frescoes.
An example of this can be seen in a large group of frescos at the Mystras Church. The most
important aspect of the Cretan School was it`s creation of icons, which demonstrate the less
austere attitude and new appreciation for purely the decorative qualities of painting.
In the 13th century it was largely the French Gothic which continued to influence Hungarian
artwork. Romanesque churches were expanded to include features of the Gothic such as in the
Gothic Protestant Church of Avas. In more rural areas folk characteristics appeared in
Romanesque frescoes such as those of small villages. Examples of this can be seen in the
churches at Szalonna and Süvéte.
Giovanni Pisano (1248-1314 approx) worked as a sculptor during the height of mediaeval Italy’s
prosperity. His role in the revival of the Gothic in Tuscany means he is often regarded as the
most important sculptor and influential artist of the 13th century. Developing away from the
apprenticeship of his father, Pisano’s work shows a mixture of the Gothic French style and
Classical modern sculpture. One of his early works, Madonna with Child clearly demonstrates
this development: The painting portrays a new familiarity between mother and child, a feature
synonymous with the Gothic style. Similarly the designs for the facade of the cathedral in
Sienna demonstrate a blend of Classical Roman art with the expressiveness of the Gothic.
The Netherlands
By the Late Middle Ages the prosperous merchant and weaving trade of the Netherlands had
produced thriving cities such as Bruges, Antwerp, Louvain, Brussels, Ghent, Ypres, Courtrai,
and Oudenarde in Belgium and Amsterdam, Utrecht, Delft, Haarlem, and Dordrecht in Holland.
Like the rest of 13th century Europe the main architectural style of construction in these cities
was predominantly Gothic. Towers, spires, belfries, and stepped gables are characteristic of the
Flemish Gothic and particularly those found in Belgium. The wealth of these towns is reflected
in their richly detailed public buildings such as the large guild houses and town halls. Bruges
provides an example of this, gaining many of its most famous landmarks during this period such
as the belfry in the main town square.
The 13th century saw Gothic architecture explode all over Poland. The influx of orders of monks
each brought with them the desire for a cathedral, monastery or church. Important Gothic
buildings include, the Chapel of St Jadwiga which provides the first classical Gothic building
(done in the French style) and the City Town Hall of Turun (1274). The town hall is a unique
example of secular Gothic architecture that has become one of the most monumental town halls
in central Europe, surviving both world wars to remain in its original state today.
Chapel of St. Jadwiga In
By mid 13th Century the final southerly region of Portugal was re-conquered and the city of
Lisbon became the capital. The transition to the Gothic style is best displayed in the
construction of Portuguese cathedrals. Many of these remained mainly Romanesque, retaining
their fortress-like appearance but gaining Gothic features. At Évora Cathedral for example the
floor plan of the cathedral is modelled on the Romanesque Lisbon Cathedral but the arches,
windows and vaults are distinctly Gothic. The Cistercian Order hurried in this Gothic style and
completed the first fully Gothic building in Portugal, The Monastery of Alcobaça, in 1252. The
Cathedral displays the simple forms preferred by the Cistercians. Churches of the Mendicant
Orders (those dependable on the charity of the people) also sprang up in the 13th and 14th
century such as the São Francisco Church at Orporto and the Monastery of Santa Clara-aVelha at Coimbra. These buildings were simple, undecorated and towerless, to be in keeping
with the Mendicant Gothic taste.
The 13th century saw the introduction of Germanic Saxon colonists to Transylvania by the
Kings of Hungary and the introduction of fortified architecture and Saxon villages. Fortifications
of various sizes were a necessity in a region constantly under the threat of the Ottoman Empire.
While the most important towns were fully fortified, the smaller Saxon villages were typically
organised around a fortified church often with a defensive tower and storehouse. The churches
were by this time characteristically Gothic or Gothic adaptions of the Romanesque. Examples
can be found at Homoród and Nagydisznód. The oldest city in Romania is founded during this
century at Curtea de Argeş.
The Scandinavian Countries
The Gothic style began to replace the Romanesque in Scandinavian ecclesiastical architecture
in the 13th century. Examples of this is are the Uppsala Cathedral in Sweden (founded c. 1270)
which demonstrates strong influences of the French Gothic, and the Gothic cathedral at
Trodheim in Norway which bears resemblance to the English Gothic cathedral at Lincoln. Brick
came to replace wood in much of the buildings of the Nordic region (an influence from
Germany), and this occurred particularly in Denmark and Finland. This can be seen in the five
towers of the Church of Our Lady in Kalundborg, Denmark (1200) and in the only large
mediaeval church in Finland, Turku Cathedral (1300s). The greatest quantities of Gothic and
Romanesque sculptural and architectural masterpieces created during this period were
produced on the island of Gotland, Sweden. Here the 94 mediaeval churches have been fully
restored and are in active use today.
13th century Spain saw a rapid decline of Islamic rule and the loss of more territory in the south.
Despite this the Mudéjar style continued to bring new western aspects to the country, for
example the fusion of the Gothic with Muslim styles. One of the clearest and most important
examples of this can be seen in the numerous imposing Mudéjar towers which were erected in
the city of Teruel. These towers include the 16th century tower of the Church of La Merced, the
tower of San Martín (1315), the tower of the Church of San Pedro (14th C.), the tower of the
Church of El Salvador (12th-13th C.), and the towers of the Teruel Cathedral. The square
towers clearly display the characteristic glazed-brick architecture and the decorative green and
black azulejos (ceramic tile-work) of the Mudéjar Style. In the Christian dominated north of
Spain, and particularly in the region of Cataluña, the spread of the Romanesque style was
bringing Spain into more mainstream European development. This is most dynamically
expressed in the great number of colourful church frescos. Similarly the French influence of the
Early Gothic becomes evident in the growth of an important school of manuscript illuminators at
the Court of Alfonso X of Castile (1252-82).
The work of historian, chronicler and illuminated manuscript artist Matthew Paris provides some
of the most detailed and useful primary sources for England during the mediaeval period. His
career as chronicler began in the first half of the century at St Alban’s Abbey, where he would
observe the mediaeval world and collect stories from passers-by. The growth of his career and
fame even led to visits from Henry III. His style of writing, although not always reliable, was
narrative and full of useful descriptions of mediaeval life. Although Paris’ style of artwork
remained traditional when compared to that of his contemporaries he created inventive
compositions and had a stylish layout. Much of his work was filled with full-page miniatures
which were often seemingly randomly placed at the beginning of his manuscripts.
A self
The Fourteenth Century 1300 – 1400
14th century Europe witnessed both the peak of the now long prevailing style of Gothic art, and
the birth of its successor, as early creations of the Renaissance were being produced in
Florence. The religious tensions and warfare, plague and natural disasters that spread across
Europe during this century help to explain national inconsistencies in development between the
styles of the Middle Ages and the Renaissance from country to country.
Prior to the disasters which mid-century Europe encountered, the continent had seen rapid
economic industrial and intellectual expansion, with the Italian states in particular, growing
wealthy on their market based economy and their prosperous location. Jutting out into the
Mediterranean between Europe and the Byzantine Empire, Italy was being rapidly exposed to
international cultures both intellectually and economically. Further to this, because Italy retained
its market economy rather than the barter-based economy seen in the rest of Europe, it retained
freedom from feudalist society. Such freedoms, by mid-century, had encouraged the writings of
intellectuals such as Francesco Petrarch to criticise the Middle Ages as a time of lost wisdom
and backward thinking, and as such helped begin a new way of thinking in the Italian
Renaissance. The crowning of Petrarch himself as Poet Laureate upon the Capitol of Rome in
1347 A.D. is often cited by historians as the official beginning of this Renaissance.
The Gothic meanwhile remained the predominant style of art works through most of Europe.
Gothic art had evolved during the previous century into a more secular and natural form known
as the International Gothic. The painted Gothic style that had first appeared in the 13th century
was now the common mode. Features of this include pictorial figures that were animated in
pose and arranged more freely in space, for the first time appearing smaller in relation to their
background. Gothic imagery, by this point, could be found in four common types of media,
frescoes, stained glass windows, manuscript illumination and panel painting, the latter of which
quickly became the dominant Italian style.
By the 14th century the Gothic style was in full swing in Austria. The French Gothic was joined
by influences from Italy. The Austrian Gothic is best seen through its architecture although there
were some interesting sculptures produced in the Zachbruchiger Stil (zigzag style). A later
Gothic style was influenced by Bohemian works and is characterised by elongated, exaggerated
and graceful figures. The most popular material at this time was wood, which was decorated in
vivid colours. The most notable of these works include The Enthroned Madonna of
Klosterneuburg and The Servant's Madonna of St. Stephan's Cathedral, Vienna. The mid
century saw the beginnings of the late Gothic in Austria known as Sondergotik (special Gothic)
which would survive in Austria until the mid 16th century. Architectural work of this period was
based on the German Hallenkirche (Hall Church). As its name suggests the features of this
architecture were its huge large hall-like interiors. The earliest of these features can be seen in
the choir added to the abbey church of Heiligenkreuz in 1295.
Bulgarian art flourished under the reign of Ivan Alexander. The early years of his reign saw a
flexible dynastic policy and a prosperous flourishing of economy and culture and as such a
second golden age for Bulgarian art. With the support of the Tsar the literary and art schools at
Turvono reach their peak in producing work in the traditional Bulgarian manner. It was the peak
for production of Bulgarian miniatures and a new branch of the Turvono art school was created
to fulfil orders from the Court. An important example of this is the Bulgarian transcript of the
Manasses Chronicle that shows miniature detail of biblical and military events. The transcript
also shows the mixed cultural history of Bulgaria with its Byzantine, Russian and Roman roots.
Similar art works from Ivan Alexander’s reign include the Tomich Psalter and the
Tetraevangelica of Ivan Alexander. Unlike Western Europe, which was immersed in the peak of
the Gothic Style, the Bulgarian transcript continues to possess no Gothic characteristics and it is
the Byzantine influence, represented through the achievements of the Turnovo art school, which
is still strong in Bulgaria.
Miniature of the
The Baltic Region
Gothic art and architecture persisted in the Baltic region throughout the 14th century. The most
important surviving Gothic monument of the Middle Ages in the Baltic region is the city of Tallin
in Estonia. Tallin is the only Hanseatic Baltic city to have preserved the main Gothic elements of
its structure. The secular Town Hall, guild houses, an armoury, a chemist's shop, a prison, a
workshop and poorhouses as well as Toompea’s castles and religious churches and abbeys
have been preserved. The most important construction in Latvia during this century was the
Turaida Castle.The production of wooden sculpture continued to develop in Latvia during this
period although few have survived to modern day. One of the most outstanding of these early
Latvian Gothic wooden sculptures is the Cross of Triumph from the Church of St James (1380).
It wasn’t until the following century that Lithuania saw the construction of its most productive
period of Gothic architecture.
The Czech Lands
The 14th century saw the beginning of a golden age of Czech arts. In the early 14th century the
region was ruled by John of Luxembourg (1310 to 1346). Under King John’s rule the territory of
the Czech lands was expanded and the city of Prague continued to grow. Important memorials
of this period are Castle Area (Hradčany)(1320) and the Old Town Hall (1338) in Prague. By the
mid 14th century Charles IV had taken over from his father. Charles was considered a highly
educated (he spoke 5 languages) and a good king and diplomat. Under Charles IV Prague was
established as one of the most prosperous cities of the time and the cultural centre of Europe.
Charles IV, as the King of Bohemia, stood at the head of a super-state comprising what are
today Germany, Austria, Switzerland and the Benelux countries, and his influence in the arts
spread widely.
Important building projects which started under Charles’ reign included one of the most famous
Gothic buildings in Europe, St. Barbara's Church (begun 1388); Karlštejn Castle (built to store
the crown jewels and documents), Charles Bridge, St. Vitus Cathedral (1344), and the
foundation of Prague's New Town (Nové město) in 1348. These buildings are built in the
dominant Gothic style of the time. Important figures in the arts during Charles IV’s reign include
his court painter Master Theodoricus who decorated the Chapel of the Holy Cross ,the most
important area of Karlštejn Castle, with over 129 panel paintings depiciting martyrs, holy widows
and virgins, popes, bishops and abbots. Another important figure is the master creator of the
Vyšší Brod Altarpiece. The Prague school of painting (1316-1378) that likewise came into
prominence during the reign of Charles IV held international acclaim, especially in Italy. This
Bohemian school of painting, the promising activities of which were quelled under Hapsburg
rule, greatly influenced the nationalist artistic movement in the works from the Society of the
Fine Arts which emerged in the 19th century.
The 14th century saw the continuance of the Gothic architectural style in France. Despite the
new large sombre halls of the Fransiscans and the Dominicans, such as in the Church of the
Jacobins in Toulouse, the elaborate Gothic style remained dominant in France until the 15
century and new flamboyant buildings, such as the Church of Saint-Maclou in Rouen, continued
to be constructed. Both the Black Death and the economic crisis of the mid 14th century
however, largely affected construction, and far less ambitious Gothic structures were built. By
the 14th century French Gothic sculpture had matured from the stiff, elongated style reminiscent
of the Romanesque into a naturalistic style concerned with mannerisms, facial expressions and
pose. Sculpture had also developed into a sophisticated and independent form very separate
from Gothic architecture. A refined and delicate example of such sculpture can be found in the
Virgin Mary that stands in the south transept of Notre Dame de Paris. The work of Claus Sluter,
a Dutch sculptor working in Dijon, by the end of the century embodied both the naturalism and
scale of this late era of the Gothic into his sculptures, for example in the Well of Moses (13951403).
The stained glass windows of the Freiburg Cathedral demonstrate the continued development
of the Gothic style in Germany, and its focus on the importance of the ‘interior’ of buildings. The
use of stained glass in cathedrals and churches reached its peak in mediaeval Europe. The
glass was often used before print was invented, to illustrate the Bible to the largely illiterate
masses. As Gothic architecture developed the windows became larger, controlling the levels
and effects of light in the important architectural interior. The purpose of such effects was the
creation of a spiritual atmosphere for the interior of the church in order to represent and, in
some interpretations, become the entrance to the celestial city. As confidence grew and the
style developed towards the end of the Middle Ages the designs and shapes of the windows
became more daring. The windows in Freiburg Cathedral reflect this development. The motif on
the glass for example, which shows the throne of King Salomon, is one of the first illustrations
that uses more than one window section. Another method of encouraging the participation in
biblical “stories” of believers can be seen in the form of German devotional-images
(Andachtsbilder) that showed, for example, scenes of the crucifixion of Christ or the Virgin Mary.
Besides the Central European variant of the Gothic style another, softer form of Gothic
interpretation developed in Germany called ‘weicher stil’ (soft style). One of the representatives
of this style can be seen in the Upper Rhenanian Masters such as in the artwork
Stained glass window of
the Freiburg Cathedral
The 14th century saw the gentle diffusion of Byzantine influence out of Greece as it gradually
fell under Ottoman control. In art this continued to be an era of icons, churches and architectural
sculpture. Some of the most important and rare of these late artworks are the frescoes of the
Peribleptos Church (dating between 1348 and 1380). A representative model for architecture of
this period can be seen at the Church of Holy Apostles in Thessaloniki. Features of the church
include exterior walls that display complex brickwork patterns and glazed ceramics, and a
mosaic and painted interior. Other churches from the end of the Byzantine era can be found on
Mount Athos and in Mistra. An example of such churches is the Brontocheion Monastery.
Religious art and particularly iconography was carried on into the next century by the Last
Macedonian School.
By the 14th century, Italian, Austrian, German and Czech Gothic can be seen to influence
Hungarian art. Queen Sofia brought masters from the Czech court to Pozsony and The Holy
Roman Emporer Sigismund reconstructed the Castle of Buda and Castle of Pozsonyby
employing wood-cutters from Prague and Southern Germany. Features in keeping with the High
Gothic appeared. These included figural decorations, consoles with figures and masks, and
delicate leaves. Czech art became particularly influential towards the end of the century. This is
evidenced in the figures and soft folds of clothes appearing in the works of Zseliz, Csaroda and
Kiszombor. Influences from Austria can also be detected in artwork at the churches in
Túrócszentmárton (early 14th century), Somorja (around 1330) and in Homoróddaróc, Gelence
and Bögöz, Transylvania. Influence from the Italian trecento can be detected in the images of
the church of Magyarfenes. In other places the elegant French style continued to dominate,
such as in the frescoes of the parish-church of Almakerék. In architecture the later part of the
century sees the construction of two of Hungary’s most important Gothic monuments, Matthias
Church in Budapest and the Castle of Diósgyőr.
The work of Giotto da Bondone is generally considered the first and earliest contribution to the
art of the Italian Renaissance. Whereas most work in Italy continued to be influenced by the
Byzantine style, Giotto rejected the Byzantine method of drawing and drew instead from life and
nature. The most distinguishable feature of this change is his depiction of the face and
expression of gesture. Giotto’s most celebrated works are the frescoes at the Scorvegni Chapel
in Padua painted in 1305 A.D.
The Netherlands
The late 14th century saw the real beginnings of the great tradition of Flemish art. The early
century saw the continuation of the High Gothic and the influence of Flemish artists in the
European style. In Flanders artists emulated the French in their development of a more fragile
style of painting and illuminated manuscripts enhanced the style with vigorously realistic
depiction of figures. A similar development was made by the introduction of realistic forms of
sculpture in the work of Jean de Cambrai, André Beauneveu and Jacques de Baerze. It was
under King Philip’s patronage that the great tradition of Flemish art began to develop. Important
artists who worked for him included Claus Sluter, the most famous sculptor outside of Italy, and
the famous Limbourg brothers, whose illuminated manuscripts such as the Book of Hours, Très
Riches Heures du Duc de Berry (c. 1413-1416, Musée Condé, Chantilly) provide the greatest
demonstration of the International Gothic Style from this region. In Belgium in particular
painting, sculpture and tapestry making flourished. The central hub of these activities was
Tournai and it was here that the tapestries would burgeon with the booming demand for textiles
in the following century. The most impressive examples of Flemish architecture in the 14th
century continued to be secular, for example the Ypres Cloth Hall and the city halls of Brussels
and Louvain.
The castle in Malbork, which sits in modern day Poland, stands as the largest Gothic fortification
in Europe, a signifier of the continuing dominance of the Gothic style throughout the continent.
Built over 100 years to house the Cross Knights Order, the castle is made up of numerous
structures which grew in size and number to accommodate a growing number of Knights over
the century. The most impressive building is the Palace of the Grand Master. Although both
military and religious purposes influenced its design it has Gothic features, such as high and
spacious ceilings and tall windows. A distinguishing feature of the castle is the difference in light
created in its two refectories between winter and summer. It is such details that make the Gothic
Castle of Malbork distinct from other permanent residencies in Europe.
Malbork Castle
14th century Portugal saw the first glimpses of the golden age that was to occur in the following
centuries. The artistic mode remained predominantly Gothic throughout this period. Many of the
Romanesque buildings of the previous centuries continued to gather Gothic features such as
the apse at the Cathedral in Lisbon, which had an ambulatory illuminated by a row of high
windows (a clerestory) in a very Gothic manner. Other instances of Gothic features becoming
included occurred during the building and reinforcement of castles. The most obvious features
of these were higher and more sophisticated towers, rib-vaulted roofing and extra facilities such
as fireplaces. One of the greatest examples of this late Gothic architecture is the Mosteiro Santa
Maria da Vitória, the Batalha Monastery, which combines an extraordinary mixture of original
Portuguese style with the flamboyance of the Gothic and the English Perpendicular. The
introduction of English styles and elements was favoured at this time, a result of the good
relations between the two countries and the marriage of the Portuguese King to English
Phillippa of Lancaster.
The 14th centry saw the greatest amount of mediaeval building in Romania. The majority of
Gothic monuments which survived can be found in Transylvania. The most significant of these
is the Black Church in Braşov (14th–15th c.), the biggest Gothic Cathedral in Europe. Other
cathedrals in Transalvania include the Bran Castle in Braşov County (14th c.) and the
Hundrades Castle in Hunedoara (15th c.). The 14th century also saw the extensive
development of fortified towns. These towns were largely functional in design; the usual pattern
is a central market place with a church, and narrow streets with sides linked here and there by
archways. Examples of these from Transylvania include the cities of Sighişoara, Sibiu and
Braşov. Less western influences are present in the architecture of Wallachia. From the 14th
century Wallachian architecture took influences from the Byzantine model. Examples of this are
the princely Church in Curtea de Arges and the Cozia Monastery, one of the most valuable
monuments of mediaeval art and archtecure in Romania. Byzantine art was also heavily
influential in Wallachia at this time. This is demonstrated by the frescos at Cozia that originate
from 1390 and remain well preserved. The most influential wall painting of this time can be seen
at the Church of Curtea de Arges, (created 1362-1366) which provided a model for the wall
painters throughout Romania.
The Scandinavian Countries
The 14th Century witnessed little artistic development in the Scandinavian countries. Norway
saw a period of artistic decline after the Black Death that hit in 1350, killing half of the
population. Finland remained sparsely populated and economically poor at this time. Denmark
and Sweden were the only countries to flourish to any notable degree.
The 14th century saw the end of 800 years of Islamic rule in Spain. The peaceful and amicable
nature that had existed between the various cultures likewise ended as Jews and Muslims were
forced to either convert to Christianity or leave Spain. As a result of this Spain and the Spanish
arts were connected to the rest of Christian Europe, and soon the rest of the world, as
Columbus set sail to find a new trade route to India, and ‘discovered’ the new world. The
Alhambra Palace which was founded during this period stands as one of the last (and most
famous) Islamic monuments erected in Spain. The building, originally conceived as a fortress,
served as the palace for the last Islamic ruler on the Iberian peninsular. A refuge for both artists
and intellectuals during the last days of Islamic rule the palace is a reflection of the last 800
years of Islamic rule displaying all the typical stylistic qualities that had developed over the
centuries such as the Calliphal horse-shoe arch, the Almohad sebka, as infused with novelties
such as stilted arches and the stylised column capitals (muqarnas). Likewise the decorations
which covered the palace walls and ceilings were typical of what had developed of the Moorish
style including calligraphy and complex geometric patterns (arabesques). Alongside this the
Gothic style began to flourish in Spain in the work of Ferra Bassa who quickly became Spain’s
first great identifiable painter and who founded the Catalan school of art.
The Luttrell Psalter demonstrates the continued prevalence of the illuminated manuscript in
Europe and especially England through to the end of the Middle Ages. The manuscript was
created for Sir Geoffrey Luttrell of Irnham in Lincolnshire in about 1325 using a wide range of
unknown artists. Although still written in Latin, despite the national adoption of the English
language, its pages are full of a great number of representations of English rural life
representing the growing national confidence of England. These important insights into
everyday life are rare in other forms of artwork, such as murals and frescoes, making the
importance of illuminated manuscripts for our knowledge of this period even greater.
Luttrell Psalter
The Fifteenth Century 1400 - 1500
The 15th century was a time of intellectual fervour within Europe. A richer, more stable Europe
began to focus its energies on more than survival and superstition. The Gothic style had
evolved into the more intellectually based International Gothic which maintained stylistic
similarities throughout Europe. A ‘rebirth’ of classical ideas and a seeking of such knowledge
took root in Renaissance Italy and began to spread throughout Europe to dominate by the end
of the century. The century also witnessed the end of Byzantine power in Europe, after the fall
of Constantinople to the Ottomans, and with it the influence of Byzantine art. The most
important invention of the century, the Guttenberg Press helped spread these new ideas and
styles quickly.
The 15th century witnessed the blossoming of the Italian Renaissance and the filtering of these
ideas into the rest of Europe. The features of the Renaissance included a focus on the
acquisition of knowledge from classical sources which developed into an intellectual movement
known as Renaissance Humanism. This encouraged the exchanging of texts and ideas via the
strengthened trade routes with the Arab nations. Another important focus for the Renaissance
was established especially in the areas of mathematics and geometry. These new interests,
discoveries and philosophies led to the creation of new techniques and styles in art and
architecture. It was a study of the world around them that led to some of the masterpieces of
Renaissance art. Paintings became more realistic and less religious in focus and this required
detailed study of anatomy and geometry. One of the distinguishing features of Renaissance art
from the art of the Middle Ages was the development of highly realistic linear perspective and
subsequently developments in light and shadow.
The ideas of the Renaissance spread quickly from their birthplace in Florence to the rest of
Europe. This was aided by the invention of the printing press which revolutionised European
book-making. These printing technologies spread quickly throughout Europe enabling news and
ideas to spread much more rapidly around Europe. In this way the introduction of printing
helped feed and facilitate the Renaissance.
The ideas of the Renaissance, as with the styles before it, were diversified and changed as it
became absorbed within each new culture. 20th century scholars have identified regional and
national movements such as the Spanish, French, English and the Polish Renaissance, each
taking the ideas of the Renaissance in different directions and creating distinguishable regional
Early in the century the Gothic style had reached its final stage in the International Gothic. It
was initially a style of courtly sophistication and was considered the more intellectual mode of
Gothic. In painting and sculpture for example the Gothic reached a dignified elegance,
elongated figures and flowing lines and there is a focus on the realistic depiction of such things
as plants and care is taken over perspective. In Florence the style was quickly outshone by the
breakthrough new styles of the Renaissance, but in the rest of Europe Gothic held sway
developing in different directions depending on location.
By the late 15th century Vienna, as the capital of the Holy Roman Empire, had grown to be the
cultural centre of Europe for the arts as well as other things. Concern for political issues which
had shaped influences in earlier art trends (such as relations with Paris or Bohemia), was
replaced by a concern for keeping up with modern European trends such as those of the
Netherlands. This can be seen in the work of the painter known as The Master of Vienna,
Schottenstift. The early influences and regional characteristics present in mediaeval art were
abandoned in favour of mainstream trends. In architecture the Gothic style scaled down to more
modest forms concentrating instead on richly decorated interiors with full rounded or low relief
sculptures and tracery added to ceilings and walls.
The 15th century was a time of Bulgarian political and economic stability when the work of the
Turnovo art school started up again after the break in its development at the beginning of
Ottomon rule. An important monument of this time is the Church of the Kremikovtsi Monastery,
the only surviving part of the Monastery, built under the patronage of the rich Bboyar Radivoj as
a memorial to his two children who died in the European epidemic. The church was built in 1493
and the frescoes were completed about the same time. The frescoes have been created in the
styles continued from the Middle Ages but the artists introduced the use of a frieze which
became traditional in Bulgarian art. The most important part of the mural decoration is the Ktitor
portrait. Radivoj presents himself as a man honoured to make contact with God. He is
presented with his wife and deceased children and the Sofia Bishop Kalevit. He pays special
attention to presenting realism in the secular faces. This is a unique genre painting found in no
other church in Bulgaria at this time.
Church of
The Baltic Region
The 15th century saw the creation of the Kingdom of Lithuania by Pope Innocent IV and a
following explosion of building in Lithuania. The brick Gothic castles and churches are the oldest
surviving buildings in Lithuania. The most important early examples of this are found at the
Castle of Trakai founded during the 14th century. The late Gothic style is marked in the
exceptional Brick Gothic church of St. Anne in Vilnius. Other important Brick Gothic buildings in
Vilnius include the churches of St Nicholas, St Francis, Gediminas Tower and Upper Castle.
Towards the end of the century the first signs of the Renaissance can be seen in the work of the
Estonian Michel Sittow who trained and worked in the Netherlands to become one of the best
portrait painters in the Dutch School. Similarly Latvian sculpture in this period developed in its
realistic depictions to produce some of the most accomplished Gothic sculptures including
Mark the Evangelist (second half of the 15th century), the Virgin Mary and a sandstone Pieta
(early 15th century).
The Czech Lands
The 15th century saw a break between two periods of golden age in Czech art. The Hussite
wars engulfed the country between 1419 to 1437 as a result of the religious conflicts between
the Hussites and the Roman Catholic Church. Many monuments and artefacts deteriorated or
were destroyed during this period, including Prague Castle. Towards the end of the century,
after peace was resumed, early signs of the Renaissance began to creep into Czech
architecture. These were some of the first lands of the transalpine area to be influenced by the
Italian Renaissance. Examples of this can be seen in the Royal Vladislav Hall at Prague Castle
and in the buildings of Moravian aristocracy.
15th century Renaissance France begins with the invasion of Italy in 1494. The Black Death
and the Hundred Years War had kept France economically and politically weak until this point.
Whilst ideas of absolutism, humanism and exploration were entertaining political France, the art
world was busy importing ideas and cultures from Italy. The early artwork of the French
Renaissance was largely carried out by Italian and Flemish artists themselves. These included
Jean Clouet, François Clouet and the Italians Rosso Fiorentino, Francesco Primaticcio and
Niccolò dell Abbate. The resultant French artwork is heavily influenced by Italian Mannerism.
The development of French Architecture was helped along during the period of great urban
development in Paris under the rule of Henry IV. Examples of this are the building of the Pont
Neuf, the Place des Vosges, the Place Dauphine, and parts of the Louvre Châteaux of the Loire
Albrecht Durer (1471- 1528 A.D.) was one of the most important and first German artists of the
German Renaissance. Durer was a promoter of etching and woodcutting, influencing many with
his style and helping woodcuts become an important alternative to painting. His refined
technique of woodcuts matched those of his etchings and helped raise the status of woodcuts
above the role in book illustration. Durer also saw the importance of printing in order to spread
his work and generate an income, and he purchased his own publishing house where he printed
and published his own work. His interests stretched from theology to medicine and geometry.
He was an excellent painter, engraver and craftsman. Notably influenced by Italian
Renaissance artists, he travelled to Italy twice in 1494 and 1505. The first trip was to Venice
where he studied perspectives and proportions. The period following this is considered his most
productive. Throughout his life Durer sought out the apprenticeship of the masters he admired,
his purpose in visiting Italy was to learn from the Italian masters, most of all Giovanni Bellini.
Printmaking was not only aligned to Dürer and his works. Johannes Gutenberg was the
European pioneer of moveable type and the introduction of his mechanical printing press in
1439 marks a change allowing greater the access of both printed material and therefore
knowledge to the common man. The 15th century also is the century of the famous ‘carvers’
such as Tilman Riemenschneider (1460 – 1531) and Veit Stoss (1437/38 – 1533) who both
created important examples of German mediaeval monochrome sculptures.
The 15th century saw the continuation of Palaeogian art in Greece but a decline in its quality.
Mural painting slows in its frequency and progression. Late in the century a refreshing but brief
movement emerges created by wandering, anonymous painters called the Last Macedonian
School (circa 1480 - 1510). The style of painting produced by the school continued in the
realistic anti-classic mode but introduced everyday objects and elements of folk art into the
religious paintings. The oldest example of the new School is found at the Old Nave of the Great
Meteoron Monastery (Metamorfossis), built in 1483. Themes from this icon appear to have
transferred to Moldavia and influenced the great Moldavian painting tradition of the 16th
century. Painting during this period was largely financed by monasteries, clergymen and
Orthodox Christian feudal lords.
By the 15th century Crete, under Venetian rule, became the chief supplier of icons in both
Greece and Europe creating them in mass production. Late in the century the Cretans had
developed a distinct icon-painting style. Characteristics of this included precise and sharp
outlines and slim silhouettes. Rhodes had a similar group of artists but it was Crete that had
become the centre of Greek art with artists migrating there even before the fall of
Constantinople. The most famous artist of this period was Andreas Ritzos (c. 1421-1492),
whose son Nicholas was also well known.
The early 15th century saw some of Hungary’s most impressive architectural constructions in
the late Gothic style such as the monastery at Nyírbátor, built between 1488 and 1511.
Influences from southern Germany encouraged the development of a strong realism in artworks
of the early 15th century. An example of this can be found in the powerful statues in the Black
Church in Brassó, (modern day Braşov, Romania) and in a statue of St. Anthony the Hermit
(1440-50) found in Transdanubia. The early arrival of the Renaissance in Hungary was
encouraged by a strong cultural, commercial and dynastic relationship with Italy. The
Renaissance was ushered in by the Italian-educated King Matthias (1458-90) and his
reconstruction of the Hungarian State which included the arts and culture. He encouraged
European painters to his court, such as the Italian Galeotto Marzio, and patrons of the arts to
ecclesiastical positions of power, such as Janus Pannonius, a humanist bishop. The early
arrival of the Renaissance meant it began whilst the Gothic mode of architecture was still
predominant, creating a unique synthesis of the two forms. Late Gothic Churches for example
were often decorated with Renaissance ornaments. Two of the greatest examples of the Early
Renaissance are the Cathedral in Nyitra and the red marble fountain at Visegrád.
The work of Piero Della Francesca (1412-1492 A.D.) is some of the most original work of the
Early Renaissance briunging together his two passions, art and geometry. Francesa’s work has
a strong geometric structure, creating a sense of order and clarity absent in the work of his
predecessors. His work was based on solid geometry and perspective and his conception of the
human figure was of a volume in space. ‘The Flagellation’ in particular is notable for its use of
mathematical unity in the composition. His work is also characterised by its serene humanism,
a feature of Renaissance portraiture. An example of this is the ‘Madonna Del Parto’ which
portrays a pregnant Madonna, a serene humanistic image of a woman with a hand against her
side to support her pregnant form.
Piero della
- Isabella
Sforza e
The Netherlands
Under the reign of Philip the Good (1419-1467) the first part of the 15th century continued to
witness a golden age for Flemish arts. Brussels in particular became a new centre for the arts.
The continuing prosperity of the Netherlands helped finance the creation of one of the most
important schools of painting outside Italy. A style of naturalism developed in the work of the
Flemish painters. The mastery of oil paint enabled rich and subtle colours and textures. One of
the most prominent of these artists was Jan Van Eck who is credited as one of the earliest of
famous Flemish painters, mastering the oil painting technique. Other important painters of this
century include Robert Campin, the leading painter in Tournai and his pupil Rogier van der
Weyden whose work, alongside Van Eck’s, became the only Flemish art of this time to gain
credibility in Italy. Although some impressive Gothic cathedrals were constructed during the
century it was secular architecture that continued to produce the most spectacular buildings.
Exmaples of this can be seen in Brussel’s ornate and dominating town hall and the market hall
in Bruge with its enormous tower.
The work of Wit Stwosz (1440s-1593 A.D.) is demonstrative of the last era of dominance of the
Gothic style in Poland. The Altar of St. Mary’s Church remains his most celebrated masterpiece.
The realistically sculpted figures are up to 2.7 m tall and help to make this the largest altar of
this time and the largest Gothic altarpiece in the world. His attention to the detail of clothing,
anatomy and the naturalism of manners of the figures have made Wit Stross one of the first
Northern European artists to be compared with the artists of the Renaissance. The 14th and
15th centuries saw a rapid growth and development of Polish cities including the capital Cracow
which had the most important university in the state. Polish citizens were becoming wealthier
and commissioning a greater number of artworks. Such a growth of demand resulted in the
appearance of secular artists and architects which in turn prompted the appearance of Guilds.
The cost of the altar, (over two thousand Gulten) was raised by these citizens of Cracow; a
reflection of the level of social class in Cracow towards the end of the Middle Ages.
During the 15th century Portugal rose to become both a major European power and ruler of a
world empire. Within its new national boundaries and in the age of its discoveries, the
Portuguese fine arts began to develop. Portuguese art remained predominantly Gothic
throughout the century. A simpler and less intellectual Gothic than that of the rest of Europe, the
Portuguese style was closer to the more vernacular artwork of the Cistercians. Although during
the reign of John I royal painters began to be introduced to the courts and the Portuguese style
was becoming recognised throughout Europe, a large proportion of Portuguese artwork
remained anonymous. Portuguese art produced during the mediaeval period was considered an
artisan trade.
By the end of the century the Late Gothic developed under King Manuel I (1495-1521) in the
sumptuous Manueline style. In architecture this style acted as a bridge to the Renaissance
marrying Spanish, Italian, Flemish and Islamic traditions. The effects of the European
Renaissance were similarly felt in other art forms. Portuguese fine art styles, notably the Gothic,
became heavily influenced by imported Flemish artwork. Significant evolutions in the style
included more humanistic depictions, and the adoption of the traditions of religious painting and
One of the most outstanding examples of this time is ‘The Adoration of St. Anthony’ by Nuno
Gonçalves, a group of panels which demonstrates exquisite portraiture and realistic detail. The
arrival of Flemish tile makers in Portugal greatly enhanced the development of Portuguese tile
production which gained further influence from the various artistic patterns displayed in Italian
In the 15th century architecture greatly developed in Moldavia. Stephen the Great (1457–1504)
ordered the construction and reconstruction of numerous fortresses such as those at Suceava,
Neamţ, Hotin, Soroca. A unique Moldovian style of the Gothic developed at this time,
synthesizing Gothic elements with the Byzantine structure common in Moldovian churches. The
church of the Neamţ Monastery served as a model for this Moldovian style for more than a
century, and continued throughout the rule of Petru Rareş (1527–1538, 1541–1546). The
innovative characteristics of this style were the porch and the exterior paintings that contained
elegant shapes able to be viewed from afar. The most famous of these churches are found at
the Voroneţ, Suceviţa and Moldoviţa monasteries. Transylvania continued to develop fortified
towns throughout this period such as Sighisoara with its nine towers, narrow passageways and
cobbled streets.
The Scandinavian Countries
The predominant style of Scandinavian painting during this period continued to be church
murals. A couple of the named artists active in Scandinavia include two of German origin,
Johannes Rosenrod, who created murals in Tensta Church (1437), and the most famous of late
mediaeval wall painters, Albert the Painter (Albertus Pictor) who painted numerous churches in
central and southern Sweden such as Harkeberga Church (c. 1485). One of the greatest works
of Nordic Medieval sculpture was also produced during this century; a commemorative and
dramatic wooden statue of Saint George and the Dragon (1489) found in the church of
Storkyrka, Stokholm, by German sculptor Bernt Notke.
The 15th century witnessed a unified Spain settle into its new Christian form and the increase of
western influences in Spanish art. The most recognised of these influences was that of the
Netherlands resulting in a Hispano-Flemish style that flourished throughout the century. The
Gothic style was present in eastern Spain until the middle of the century. This is demonstrated
in the works of Bernatt Martorell and the Master of Arguis as well as the work of Luis Dalmau.
Meanwhile in Castile the taste for northern art was spreading as Flemish art was imported by
the court and works were sold at the fairs of Medina del Campo. Local workshops adapted to
this influx as is demonstrated in the works of Jorge Inglés (active 1450) and later Fernando
Gallego (Salamanca). Influences of the Mudéjar style continued to creep into a small number of
artistic works. A good example of this is in Martorell’s ‘The Annunciation’ which displays the
distinct geometric-patterned ceiling and floor characteristic in Mudéjar architecture.
The introduction of printing and the printing press enabled William Caxton to print the first book
in England. The unstable political situation in England at this time, disturbed by the Wars of the
Roses, had resulted in the destruction of a large amount of art in religious buildings. This meant
that easily transportable artworks such as books gained more value. The texts in Caxton’s time
had moved away from the purely religious to both the secular and the narrative. Caxton gained
fame for his development of the plainer typeface, his creation of simple ‘Black Letter Type’
which tried to emulate the more austere handwriting of the Haarlem monks. Caxton was unique
in his ability to create both woodcuts and prints alone, usually a task for more than one
craftsman. Caxton’s first book was printed in 1477 A.D. and the first version of Chaucer’s
‘Canterbury Tales’ was printed in the same year. Caxton’s woodcuts which were used in five
later editions of Canterbury Tales provided the first illustrations for the work of Geoffrey
The Sixteenth Century 1500 - 1600
The 16th century was the age of the social and intellectual change that transformed European
culture. The ideas which had begun in Italy had taken root throughout Europe spurring English,
French, Spanish and Polish Renaissances. Italy itself remained influential in both the intellectual
and art worlds developing further into a period of creation known as the High Renaissance.
The late 15th and early 16th century witnessed the peak of the Italian Renaissance, known as
the High Renaissance. The patronage of Pope Julius II meant that the centre of the
Renaissance by this time had been re-sited in Rome. The beginning of this period is generally
seen to begin with the creation of Leonardo’s ‘Last Supper’ in Milan, and the highest point of the
style is seen in the paintings of Michelangelo and Raphael. High Renaissance sculpture is
characterised by a balance between the static and movement, as seen in Michelangelo’s
‘David’. The High Renaissance was a culmination of the developments of the works of the
earlier Renaissance and is often considered an explosion of creative genius.
The period known as Mannerism developed from the Italian High Renaissance in about 1520
A.D. and lasted until late in the century when it was replaced by the Baroque. The style is
influenced by, as well as reacting to, the harmonious ideals and restrained naturalism of the
early Renaissance artists. There is debate among historians as to whether Mannerism is a style,
a movement or a period. It is a term that has been coined throughout the centuries to try to
categorise the art of the 16th century which was no longer perceived as exhibiting the
harmonious and rational approach associated with the High Renaissance. The artists who had
matured under the Renaissance appeared to be creating exaggerations of it. The style spread
out of Italy largely due to the fleeing of many artists after the Sack of Rome in 1527 A.D.
influenced by the artisits Caravaggio and Carracci, Mannerism was adopted in other parts of
Europe, and carried into the 17th century.
Changes of rule in south-eastern Europe led to significant changes in the artwork produced.
The 15th century saw the Byzantine Empire fall under the Ottoman invasion and the newly
established Islamic Ottoman Empire take its place. The Athonite monks tried to maintain good
relations with the Ottoman Sultans, a move that led to the guaranteed independence of the
Athonite monastries. As a result of this the Athonite communities experienced a long period of
peace through the 15th and 16th centuries and consequently a relative period of prosperity for
the monasteries. In turn this resulted in the cultivation of many artworks. Sultan Selim was a
substantial benefactor of the Xiropotamou monastery, financing the construction of the dining
area and the underground section of the Abbey as well as the renovation of the wall paintings in
the central church (1533-1541).
The Gothic style continued until mid 16th century where it was superseded by the Baroque. A
distinctive feature of Vienna is its lack of Renaissance buildings. This is due to the periodical
besiegement by the Turks (1529-1680) which focussed construction on the fortification of the
city. Early Baroque builders, of mainly Italian origin, concentrated on the small country churches
and civil buildings of less threatened regions of Austria such as Tyrol, Carinthia and Styria.
Painting similarly struggled to keep up with Renaissance trends during this century. One
exception of this was the Danube school who were among the first pure landscape painters.
Their highly expressive figures display the influence of Matthias Grünewald, and border on
Expressionism, a style distinctively different to the polish of Northern Renaissance painting.
Thanks to the favourable conditions for the monasteries in south-eastern Europe Orthodox arts
continued to blossom at Mount Athos, and Bulgarian artists continued to obtain skills and
training there. For the most part Bulgarian churches of this period provide a typical example of
the monumental-decorative Orthodox art of the 16th century that was being ideologically and
philosophically dictated by Athens. However the frescoes of The Saint Stephan Church in
Nessebar display a distinct connection to real life, which sharply distinguishes them from the
Athos images. Almost all the scenes are related to the Mother of God. The murals are an
example of how the Bulgarian painters were able to connect the Gospel stories with the natural,
historic and economic characteristics of the place they worked in, an artistic and localised
interpretation of the Canon. The frescoes contain elements of Realism which are early for this
period in Bulgaria.
The Saint Stephan Church in
Nessebar- interior
The Baltic Region
The period of warfare which enveloped the Baltic countries in the 16th and 17th centuries meant
the Renaissance was somewhat delayed in its development. It wasn’t until the end of the
century that Lithuania was affected by the Northern Reniassance and Mannerist styles. Many
Lithuanian artists came back from aboard to a culturally active Lithuania. During the 16th
Century Lithuanian cities began construction according to a town plan and structure, and Italian
architecture was introduced.
Likewise In the city of Tallin in Estonia, the Renaissance and the change to secular art did not
erupt instantaneously, despite the early works of Michel Sittow and the revolutionary break
away from church art. The atmosphere of conflict meant that ancient buildings became
modernised to accommodate the military and fortress-like architecture became highly regarded.
Sacral art was replaced with images of classical mythology and allegorical virtues. When,
eventually, the subjects of Renaissance works were adopted, the Estonian artists were yet to
develop the skills of the Italian Renaissance artists to present them. An example of this can be
seen in the sculpture of The Fall where the sculptor clearly had difficulty in depicting
anatomically correct human bodies.
The Czech Lands
The influence of Italy and the Netherlands was prevalent in the Czech lands in the 16th century.
The second Holy Roman Emperor to rule Prague encouraged a second golden age in Czech
arts. Rudolf II was an enthusiastic patron of the Northern Mannerist style and surrounded
himself with German and Dutch artists, most of who were trained in Italy. Three artists in
particular were important figures, Bartholomeus Spranger, Hans van Aachen and the sculptor
Adrian de Vries. One of the most well known works of this time is the painting of Rudolf as
Vertumnus (1590-1) formed from flowers and fruit created by his court painter Giuseppe
Arcimboldo (1532-1593). Rudolf possessed the greatest art collection in Europe during this
period and his collection of Northern Mannerist art is the greatest ever assembled.
The 16 century withnessed the peak of the Renaissance in France as well as the development
of Late Mannerism and the growth of the Early Baroque movement. The most important factor
in the development of French Mannerism was the work of the school of Fontainebleau (Ecole de
Fontainebleau), which centered on the royal Château de Fontainebleau. A number of Florentine
artists were hired to decorate the palace with the help of some French assistants. The
consequence of this direct injection of Italian influence was the development of a distinctly
French style of Mannerism. This style was displayed by French artists including Jean Cousins
the Elder in his painting Eva Prima Pandora; and the work of his son Jean Cousins the
Younger, whose work displays the elongated figures and mythological content typical of
Mannerism. Antoine Caron used an exaggerated version of the Mannerist style in his paintings
of the French Wars of Religion. The French Wars of Religion (1562-98) stifled the progression
of art that wasn’t of a political or religious nature for 30 years.
The work of Mathias Grunewald demonstrates the transition from Gothic art to that of the
Renaissance in Germany. He can be seen to ignore Renaissance Classicism and secular art
and instead continue the intense style of Central European art that focused on religion.
Although there is not much known about his life, his small surviving body of work is enough to
secure him the reputation of the last of the important Gothic artists. Grunewald can be seen to
have had similar artistic aims to his contemporary Albrecht Durer. Grunewald’s colourful,
powerful and expressive works demonstrate the new Renaissance ideas seeping over the Alps
to Germany.
Another remarkable German painter of this century is Hans Holbein the Younger (1497/98 –
1543). The altarpiece he painted for Mayor Jakob Meyer follows the traditional iconography of
the Virgin of Mercy and is an expression of the lessons of the High Renaissance.
The Fallen
Art production did not flourish in Greece during Ottomon rule, instead the centre of Greek art
had moved to Crete. The blending of the Eastern and the Western traditions produced the
‘Cretan Renaissance’ during the 16th century. This was a golden period for the arts on the
island and painting flourished. Two styles where apparent in painting, the Maniera Greca (alla
greca, in line with the Byzantine idiom), and the Maniera Latina (alla Latina, in accordance with
Western techniques). Sometimes both styles could be found in the same icon. Characteristic
features of the style included a monumental erect figure, standing alone against a neutral dark
background with richly coloured garments. The fame of the most prominent Cretan painters
spread throughout Greece, the Mediterranean and Europe. In Greece Cretan artists were
preferred by the Church, their popularity almost making it the official orthodox art.
Many Cretan artists were requested to paint churches and monasteries. The first of these artists
was Theophanis Strelitzas, also known as Bathas, who was requested to paint the Saint
Nicolaus Anapafsas monastery at Meteora in 1527. Other famous painters of this century,
include El Greco, who produced most of his work from Venice, Michael Damaskenos and
Georgios Klontzas. During the second half of the 16th century, mainland Greek monasteries
sought after the renowned painters of Crete. At the same time, the Cretan painters developed a
complete set of themes for the decoration of the churches, starting from the technique of
portable icons. Cretan art spread to Macedonia, Moldavia, Wallachia, and Georgia, where it
merged with older schools and local traditions. Gradually, around the end of the 16th century,
Cretan wall painting started to repeat itself and lost its originality and creativity.
In north-western Greece a different school developed, continuing from the Last Macedonian
School and financed by local Lords. These paintings were more lively, colourful and full of
movement. The influences of the School of North-western Greece spread to the iconographers
in Greece and the Balkans throughout the 16th century. This can be seen at St. Georges at
Baniani near Scopje and St. Zaccharias at Kastoria. The impact of this school is often combined
with the influence of the Cretan School and in many cases both schools would coexist in the
same composition.
Red marble became popular thoughout Hungary during this Renaissance period as evidenced
in Siklós, Mezőkeszi, Nyirbátor, and Gyulafehérvár. One of the greatest of these works is the
Báthory Madonna created in 1526. The most beautiful Renaissance relic of Hungary which
imitates Tuscan architecture is the Bakócz Chapel in Esztergom built by Bakócz Tamás in 1507.
This chapel displays all the features of the Cinquecento with its clean harmony and solemnity
and its grandiose forms and noble proportions. The Bakócz Chapel strongly affected national
architecture, greatly influencing later works such as Szathmári Gyorgy's Tabernacle in Pécs.
The flowering of the Hungarian Renaissance was brought to a halt with the start of the 150 year
rule of the Ottoman Empire and the destruction of relics.
The works of Leonardo Da Vinci (1452 A.D.), Michelangelo Buonarotti (1475 A.D.) and Rafaello
Sanzio (1483 A.D.) comprise the great works of the Italian Renaissance and the artists can be
seen as the most representational and influential of the High Renaissance period. The majority
of the important artists at this time were trained in Rome, Florence and Northern Italy. Their
influence spread through France, Germany and Spain distributing the ideas of Humanism and
the Renaissance style throughout Europe. Da Vinci is often described as the archetype of the
Renaissance man, his diverse talents included invention and painting as well mathematics,
engineering, botany and anatomy. Educated in the workshop of Verrocchio in Florence,
Leonardo was at the centre of intellectual movements in Italy and would have been exposed to
a vast range of technical skills and important contemporary artists such as Botticelli. The
qualities of Da Vinci’s paintings, many of which are considered the greatest ever painted,
included his detailed knowledge of light, geometry, botany and geology and the way in which
humans register emotion and gesture. Michelangelo likewise expressed many talents in
painting, poetry, sculpture and engineering. His most famous works are the sculptures of David
and Pieta and two of the most influential works in fresco of the western world, the Last
Judgement and Scenes from Genesis in the Sistine Chapel in Rome. These all display the
quality most admired by his contemporaries, that of the ‘terribilita’, awe-inspiring grandeur. It
was the attempts to imitate such grandeur that led Italian artists into the next phase of
development after High Renaissance art, that of Mannerism. The work of Rafaello demonstrates
influences from both Leonardo Da Vinci and Michelangelo. HIs skill lay in enhancing and
elaborating their works with his own style. All three artists were present at the Vatican towards
the end of the century when it was the work of the Italian artists that was the most influential in
Europe. It is not surprising that they should be influenced by each other’s work.
The Netherlands
By the 15th century the cultural centre of art in Flanders had moved from Bruges to Antwerp,
one of the most important centres for trade in Europe. The new cultural centre attracted
hundreds of Flemish painters and by 1600 around 700 painters had registered with the Guild of
St Luke. Heavy influence in this period comes from the Italian Renaissance, demonstrated in
the works of Quentin Massys, Marinus van Reymerswaele, Jan Gossaert, who is attributed with
introducing the nude and mythological subjects into Flemish works, and Joachim Patinir who
became a pioneer of the painted landscape as an independent subject. The Renaissance did
not influence the work of all Flemish painters. Brussels-based painter Pieter Bruegel maintained
a distinctly Flemish style despite visiting Italy and temporarily living in Antwerp in this period.
The genre and landscape paintings of Bruegel had a lasting impact on Flemish art. The Dutch
Wars of Independence at the end of the century, which greatly depleted the population of
Antwerp, resulted in a temporary break in its role as cultural hub, a position it would regain in
the following century.
Renaissance architecture was in full bloom in Poland during the 15th and 16th centuries.
Poland was a very stong country at this time and the Jagiellon dynasty supported the
development of sacral and secular architecture. There are many great examples of the
Renaissance style constructed by Polish as well as Italian and Nederlandish architects.
Stanislaw Samostrzelnik was the first recognised Renaissance painter in Poland, gaining
recognition for his ornamental miniatures. Humanism blossomed in Poland during this period
and satisfaction gained from the celebration of oneself and one’s own ideas. Samostrzelnik’s
characters were drawn with an appreciation of this and often express self-consciousness.
Early 16th century Portugal witnessed the height of the exuberant Manueline style, which in the
early part of the century remained largely architectural and Gothic. In architecture the style,
financed by the lucrative spice trade in India and Africa, incorporated both the maritime
elements and the discoveries of the voyages of Vasco da Gama and Pedro Álvares Cabral.
Under the patronage of King Manuel I there were several important architects of the period
including Pedro de Trillo, Diogo de Arruda and Francisco de Arruda who were responsible for
the Evora Royal Palace (1525) and the Castle of Évoramonte (1531) as well as the Manueline
monument, the Convent of the Order of Christ at Tomar. Characteristics of this style are the
complex ornamentation of windows, portals, columns and arcades. It wasn’t until the end of the
century that Portuguese architecture abandoned the Gothic style in favor of the first ‘pure’
Renaissance constructions as seen in the Chapel of Nossa Senhora da Conceição in Tomar
(1532-40), the Porta Especiosa of Coimbra Cathedral and the Graça Church at Évora (c. 15301540). The Manueline style spilled over into the other arts, and a school of painting called the
Northern School was established. The style of painting is characterised by its sense of realism,
expressive detail and brilliant colours. Vasco Fernandes (Grão Vasco) is the most renowned
Manueline painter. His most notable works are the altarpieces at Viseu Cathedral. A different
group of painters developed under the Lisbon School including Gaspar Vaz, Jorge Afonso,
Cristóvão de Figueiredo, Garcia Fernandes and one of the best known artists of the 16th
century, Gregório Lopes. The influence of the Manueline style was carried through the
Portuguese Empire and remains evident in North Africa, Southern Spain and the Canaries, as
well as further afield in Brazil, Goa in India, Peru and Mexico.
In the 16th century Romania was under the direct control of Ottomon rule. At the end of the 16th
century, a Walachian voivode (a military commander), Michael the Brave, led a revolt against
the Ottomans and succeeded in bringing Walachia, Moldavia, and Transylvania under his rule
briefly at the end of the century. Michael is the national hero of Romania for his part in this
uprising and for being the first to combine the three territories that were to form Romania. In the
16th century the Renaissance, Humanism and Reformation brought new influences to
Transylvanian culture. However, apart from the humanist development from Italian influence
around bishop seats, the Transylvanian cities remained closely connected to the German
culture, which at this time was concerned with the International Gothic. Sculpture holds a
modest place outside of the Catholic provinces of Romania. The lavish Caucasion and Arabic
style decoration of sculpture of the Episcopal Church of Curtea de Arges provides a rare
example of decorated Byzantine sculpture, which was usually devoid of carved decorations.
The Scandinavian Countries
The Reformation saw monastic powers replace the Church as patron of the Scandinavian arts.
This change limited ecclesiastical construction in Scandinavia and refocused it on palaces,
castles and manor houses. Similarly, in painting, portraiture replaced church murals as the
predominant form. Important castle building occurred in Sweden and Denmark such as those at
Kronborg (c.1570–1590) and Fredriksborg (c.1560–1620) castles and Stockholm (1690–1708;
1727–53). The first signs of the Renaissance accompanied the Reformation in a diluted form.
Unlike the rest of Europe the new Classical mixed with the already present Gothic rather than
immediately replacing it. This can be seen in the Kronborg Castle at Helsingør mentioned
above. It was the German style of Renaissance that most heavily influenced Scandinavia at this
time, most prominently seen in the castles at Gripsholm, Vadstena, and Kalmar.
By the 16th century Spain had begun to emerge as a dominant European power. Like the rest
of Europe Spain witnessed a flowering of culture during the Renaissance. This was a golden
age or Siglo de Oro, particularly in Spanish painting and sculpture, many of which were
produced for the ever-strengthening Church. Pre-eminent painters of this period include the first
national character of Spanish art, Luis de Morales. Dubbed ‘the Divine Morales’ due to both the
spirituality and realism found in his work his predominantly religious works were influenced by
Italian painters such as Raphael and Leonardo. Towards the end of the century El Greco’s
dramatic and expressive Mannerist paintings combined Western styles with Byzantine
traditions. A Greek who was trained in Italy, El Greco settled in Toledo in 1577 where his works
were highly regarded. Outside Toledo El Greco’s works fell under criticism during and in the
years after his lifetime, and it is only in the 20th century they have become fully appreciated.
Luis de Morales - Pietà
The work of Nicholas Hilliard (1547-1619 A.D.) is representative of the Mannerism movement
which reached its peak in England during the 16th century. English art at this time was distinctly
provincial and far from the early Baroque of Italian artists of the same era. Originally trained as
a jeweller Hilliard was appointed Court Miniaturist around 1570 A.D
. His work with its flat, linear, two-dimensional style has similarities to the previous decorative
traditions of British manuscript and textile arts. Technically he was very conservative by
European standards but his paintings retained a freshness and charm which exemplified the
visual image of Elizabethan England. The work of Hilliard, although not necessarily the most
influential of his age, is certainly highly representative of the Elizabethan period.
The Seventeenth Century 1600 - 1700
The 17th century is seen as the beginning of the Early Modern Period in Europe. It is a time of
power shifts and civil war. In the arts it is the time of the Late Renaissance and Mannerist styles
which bridged the way to the Baroque style that was to dominate the century.
The period witnessed a tremendous shift in the tide of political, social and artistic life in the
British Isles. By the end of the Elizabethan Age England became a major economic power, and
London was the bustling central hub of this.
While the British Isles remained home to many of the great literary minds of the age, it was
foreign masters, mostly those of Flemish origin, who dominated the visual arts and architecture
at the turn of the 17th century.
The Puritan-led Commonwealth of 1649-60, an outbreak of plague and the Great Fire of 1666
virtually stopped the artistic production. In the wake of these catastrophic events however a
generation of native-born artists planted the seeds of a distinctly British style of painting and
The northern regions of Italy continued to be a flourishing artistic centre, despite the declining
political and economic structure of the country over the next two centuries.
Venice was still the cultural capital of Europe and it helped cultivate the new theatrical form of
the Opera.
Genoa flourished as the centre of mercantilism and artistic production.
The Grand Tour linked all of the major cities of artistic production in Europe. This facilitated the
exposure of artists to investors who were attracted to Northern Italy and brought about
commissions from prosperous aristocratic families.
The 17th century was the era of the Baroque style in art and architecture. Developing in Rome
at the beginning of the century the Baroque is exemplified by its grandeur in the arts, literature,
paintings, music and dance.
The origins of the Baroque are linked to the insistence of the Catholic Church in Rome in the
mid 16th century that the images of the Church should speak to the illiterate population. This
resulted in a refocus away from the intellectual Mannerist art of the preceding century to a more
simplified and obvious iconography based on the dramatic and the awe-inspiring.
The success of the Baroque is in part due to this support from the Roman Catholic Church.
Catholic courts in the Baroque style contained grand staircases and large reception rooms
placing emphasis on volume and void, light and dark, colonnades and domes. Similarly music
and paintings contained elements of strength, power and dynamism. Baroque sculpture sees
the importance of groups of figures and the movement and energy of human forms interacting
with each other and the space surrounding them, often reaching, bending and spiralling around
one another or a central vortex.
Bernini, the most important sculptor of the period created sculptures which combined the
physical with the spiritual, and his work was in high demand during his lifetime. Bernini’s St
Theresa in Ecstasy is an attempt to portray the religious experience as an intensely physical
one. Similar intensity is found in Baroque paintings, in particular in the observational detail such
as the rendering of cloth and skin textures.
There were highly diverse trends in Baroque art in the works of Bernini, Carravaggio and
Cortona who approached the problem of creative vigour in different manners and with different
styles. It is the combination of painting, sculpture and architecture which created the dynamism
of the Baroque style. This can be seen in the Cornaro Capel in Saint Maria della Vittoria which
displays Bernini’s St Theresa in Ecstacy in a Baroque setting of architecture and sculpture.
The production of opera in this period is seen as an exemplification of the Baroque ideal of unity
among the arts, encouraging collaboration between poets, writers, musicians, painters and
The largely peaceful relationships between the Ottoman Empire and the Greek Orthodox
Church in south-eastern Europe meant that the Orthodox Church structure was left intact, albeit
under close control. Until Sultan Abdülaziz established the Bulgarian Exarchate in 1870 and
reinstated the autonomy of the Bulgarian Church, the Greek Orthodox Patriarchate maintained
religious authority. Under these conditions the arts in Bulgaria continued to develop following
the Greek Orthodox art and the schooling of Athos.
The 17th century saw the flowering of the Baroque in Austria. This era saw the emergence of
Austria’s own architects including Johann Bernhard Fischer von Erlach (1656-1723) who
adapted the Italianate Baroque in a Viennese fashion. Examples of his work include Karlskirche,
built in 1713, the Hofbibliothek (National Library) on Josephsplatz and the Hofstalungen.
The work of Johann Bernhard Fischer von Erlach influenced those who followed him including
Johann Lukas von Hildebrandt (1668-1745). This influence is evident in the cube structure and
mansard-style roof of Belvedere Palace.
Vienna continued to struggle to keep up with modern trends in painting through the 17th century
resulting in the commissioning of Italian artists to docrate the Baroque churches and palaces.
An example of this is Andrea Pozzo (1642-1709) who’s Apotheosis of Hercules adorns the
ceiling of the Liechtenstein Palace. Johann Rottmayr (1654-1730) was the first Austrian
Baroque painter and was entrusted with decorating the buildings of both von Hildebrandt and
Fischer von Erlach. Other Baroque painters include Daniel Gran who painted the frescoes of the
Hofbibliothek and in the following century landscape painter Bernard Bellotto (1720-80) from
Apotheosis of
17th century Bulgaria was a period of Ottoman rule and Turkish feudalism, where the training of
amateur artists happened either at the Athos monasteries or under the influence of Orthodox
art. This period saw the development of the Arbanassi School of Art in Bulgaria, a predecessor
to the Tryavna Art School that was heavily influenced by the Turnovo School.
The artforms produced during this century were influenced by the style of the monks of the
Athos monasteries, although the work often demonstrates a degree of national self-awareness.
The frescoes ‘Christ Great Archangel’ and ‘Saint Nicholas’ demonstrate the features of the
Arbanassi School.
During this period Arbanassi was going through economic and spiritual upheaval and many
wealthy tradesmen connected with Athos lived there. Their artistic tastes most likely
encouraged visits from the best travelling artists in Bulgaria.
The frescoes at St. Nicholas were completed by an anonymous but a well trained artist who was
well acquainted with the Gospel topics.
The Baltic Regions
By the 17th century the Renaissance was well underway in all the Baltic countries. The greatest
examples of the effects of Mannerism in the Baltic Regions are found in church interiors, in
particular in organ decoration and altars, commemorative statues and the facades of houses.
Most of these continued to be carved in wood and display remarkable filigree detail and a
mystical ambience which reflects the conflict and suffering of the times. In Latvia sculptural
figures gained curved and elongated bodies in a style typical of Mannerism known as ‘figura
seperntinata’. Other features of the Mannerist style are shown in a woodcarving from Zlēkas
Church dating from 1652. In Estonia, in the early years of the century, the architecture of Arent
Passer demonstrated influence from the Netherlandish Mannerists. This is best illustrated in the
façade of the Blackhead Brotherhood's house built in 1597 at Tallinn. In Lithuania the Mannerist
style can be seen in the paintings of Bartholomeus Spranger, such as St Ursula with Martyrs.
The Czech Lands
The 17th century saw a political decline in the power of the Kingdom of Bohemia, reducing its
influence to that of a province. Despite this Bohemia had been re-Catholicised and, out of all the
counties in Europe, it was in the Kingdom of Bohemia that the most dynamic style of Italian
Baroque caught on most quickly. Important Baroque buildings in Prague include St. Clara’s
Monastery Church in Cheb and the Benedictine St. Marketa’s Monastery Church. The leading
architects of the period include Kilián Ignác Dientzenhofer who designed Prague’s St. Nicholas’
Church, an archetypal church of High Baroque style. Under the influence of the abbots of the
clerical orders Bohemia produced a unique synthesis of the Gothic and Baroque styles through
an original Baroque transformation of Gothic details. This is seen in the work of Jan Blažej
Santini-Aichel (1677–1723) at the monastery church in Kladruby and the Pilgrimage Church of
St. John of Nepomuk in Žďár nad Sázavou. In painting and sculpture the focus of the Czech
artists was on depicting the state of mind of the protagonist, with the aim of bringing them closer
to the viewer. This is demonstrated in the work of one of the masters of the period, Petr Brandl
(1668-1735). The biblical characters in his many large altarpieces are often shown in extreme
emotional situations. Similarly the portraits of Jan Kupeck ý(1667-1740) concentrate on
portraying realistic character traits. In sculpture the work of two very different sculpting
workshops competed for commissions in Prague, the calm monumental statues of Ferdinand
Maxmilián Brokoff (1688-1731) and the more unsettling work of Matthias Bernard Braun (16841738). Characteristics of the latter are tense theatrical gestures and rich folds of garments. Both
artists produced sculptures for the Charles Bridge. The most famous of these is Brokoff’s
statuary of the Saints John of Matha and Felix of Valois and Ivan.
The Baroque style dominated both art and architecture produced in France during the early
parts of the 17th century followed in the later half of the century by the development of
Classicism. Both Late Mannerist and Early Baroque tendencies were found in the Royal Courts
of Marie de Medici and Louis XIII. There was influence from both Baroque Flemish painters
such as Peter Paul Rubens (with voluptuous lines and colours) and the Roman artists of the
Counter-Reformation such as French-born but Rome-based Nicholas Poussin, whose paintings
were about rational control and proportion, and Roman Classicism. Other Italian painters were
likewise highly influential,Caravaggio and his dramatically lit paintings can be seen to influence
George’s de la Tour and his similarly dramatic candle-lit paintings. The Italian style of Baroque
was not incoroporated into French architecture in the same way. French Baroque architecture
evolved under Louis XIV in a more sober and classical manner. Architect Salomon de Brosse
and the construction of the Palais du Luxembourg (1615-20) demonstrated the merging of the
Baroque with French elements. Likewise, in his designs for Château de Maisons (1642), the
architect François Mansart succeeded in reconciling the new academic and Baroque
approaches with the Gothic French tradition. Mansart is regarded as introducing the full
Baroque to France. During this period artisan control was under the King’s minister JeanBaptiste Colbert. The result of this was the creation of an academy of painting and sculpture
which maintained a hierarchy of genres of painting and a ruling that France would no longer
purchase foreign luxury goods and would instead produce them herself.
In Germany the explorations and detailed still-life paintings of Maria Sibylla Meria demonstrate
the beginning of German independence in the arts as well as research and entrepreneurship.
This presented a distinct change from the previous dependence of patronage. As with other
descendants of the Renaissance and Baroque world, Maria Sibylla Merian helped connect the
worlds of art and science through a detailed exploration of the surrounding world and a carefully
detailed visual representation of it. She became one of the first artists who made systematic
observational paintings of insects. Such methods of discovery by exploration were new to the
Baroque world. Natural elements such as animals and plants had lost their religious significance
by the 17th century and became a form of still-life which was to become an important element in
art. Still-life became a common genre of painting during this century, especially for women
where it provided a safe way for their participation in the art world.
The industry of Cretan Icon painting continued to flourish until the middle of the 17th century,
when the island finally fell under Ottoman control. The most prominent painters at this time
included Father Emmanuel Tzanes (1610-1690), Emmanuel Lambardos and Theodoros
Poulakis (1622-1692). The occupation of the Ottomons forced many Cretan artists to move to
Western Europe and pushed the centre of Greek painting to the Ionian Islands, where it
remained until the Independence of Greece in 1830. This school remained heavily influenced by
Western European artistic trends.
Emmanuel Tzanes:
St. George killing the dragon
By the 17th century the importance of painting, sculpture and decoration in Hungary grew in
both ecclesiastical and secular architecture. Portraiture became popular, and in particular
having a ‘gallery of ancestors.’ These would have been present at both the Batthyány Castle in
Rohonc and in the court of the Princes of Transylvania. This can also be seen in a set of prints
(a form which had become very popular by 17th century) called ‘Mausoleum’, published by
Ferenc Nádasdy in 1664, which depicted kings. Besides portraits, still-lifes and battles became
the subjects of paintings used for the interior decoration of buildings. Battle pictures generally
showed fight scenes of Kuruts and Turks, or Kuruts and Labants. Painters found it hard to make
a living in Hungary during this era and often moved abroad. Some well known Hungarian
painters working abroad included Jakab Bogdány of Eperjes, Jan Kupeczky (1667-1740) whose
well-known picture portraying a Kuruts soldier secured him a high ranking place in Hungarian
Michelangelo Merisi Da Caravaggio is considered the first great representative of the Baroque
style of painting. His personal life echoed the drama of his paintings with numerous tales of
brawls, including the killing of a young man that resulted in a price on his head and finally his
death a year later. The most distinctive feature of Caravaggio’s work was his tenerbrism (violent
use of light and dark) or dramatic illumination, used to create the image of figures emerging
from the dark. This realism brought a new level of emotional intensity, fitting perfectly with the
aims of the Baroque. Whereas the dramatic intensity of his work was highly appreciated, the
realism of Caravaggio’s work, which often featured violent struggles and grotesque
decapitations, torture and death, was often seen as unacceptably vulgar. Although Caravaggio’s
contemporaries were polarized in their opinions of him, he was generally held as a visionary
and, despite his short career and life, his influence can be seen in the works of Rubens, Jusepe
de Ribera, Bernini and Rembrandt. His influence was such that ‘Caravaggism’ became the
cutting edge for ambitious young painters. However Caravaggio’s fame scarcely survived his
death: The Baroque took the drama of his lighting (chiaroscuro), without the psychological
realism, and forgot the creator who was only rediscovered in Europe by the art critic Roberto
Longhi in the 1920s. A further influential Baroque artist working in Rome was architect and
stonemason Francesco Borromini whose work is often regarded as iconic of the Baroque
The Netherlands
By the 17th century the social, political and economic effects of war had created a sense of
nationalism and pride in the new northern independent state of the Netherlands. This
contributed to a flowering of the Dutch arts. As Amsterdam replaced Antwerp as the leading port
on the northern seaboard, artists began moving from the southern regions to the northern. The
main patrons of the arts became the merchants and traders who were also responsible for the
country’s wealth. So, unlike the religious and mythological scenes which, financed by the
church, dominated the arts of the rest of Europe, Dutch paintings depicted scenes which would
tempt the nationalistic middle classes, landscapes, seascapes, townscapes, portraits, still-lifes
and everyday life scenes. These paintings became almost everyday commodities rather than
specifically commissioned works. Examples of these artists include the portrait artist Frans Hals
as well as Jan Vermeer who depicted quiet scenes of middle-class life, and the landscape
painter Jacob van Ruisdael. One of the main forms of painting to grow during this era was
portraiture as many middle class citizens commissioned works to show their success. The
greatest of these portrait artists was Rembrandt. Similarly, landscape painting, influenced by the
work of Pieter Bruegel in the previous century, grew to be a dominant mode of art. As the
Dutch economy fell into decline towards the end of the century the golden era of painting came
to a hasty end. The southern counties, at this time under the influence of Spain, felt the
influence of the Baroque. The predominant and most influential Flemish painter of the 17th
Century was Peter Paul Rubens known for his Counter-Reformation altarpieces, portraits,
landscapes, and historical paintings of mythological and allegorical subjects. Rubens was
responsible for many of the church paintings during the rebuilding of Antwerp. Other important
Baroque artists include Ruben’s student, Anthony van Dyck, and Jacob Jordaens.
Peter Paul
The Palace of Wilanow is one of the most precious monuments of the Polish Baroque. The
palace was built for the Polish King Jan III Sobieski and is characteristic of Baroque suburban
residences. The palace grandly merges European art with Polish traditions. The Baroque style
is exemplified in its elevation and palace interiors, designed to glorify the Sobieski family. The
exterior of the building exhibits a rich facade and Baroque gardens while the interior boasts a
dramatic and exquisite design with well-preserved Baroque paintings that fill the ceilings and
walls. The Polish Baroque which had been apparent since the 16th Century coexisted with
Sarmatism, a popular cultural trend within the nobility. A mix of oriental influences descending
from Ottoman influence and Polish traditions, the focus of the stlye was on both the historical
mission of the Polish people as the ‘bastion of Christianity’ and the superiority of the nobility to
both the King and the nobility of other nations. In the arts this manifested itself as a mixing of
western and eastern style especially prevalent in decorations and dress. The decorations in the
Queen’s sleeping room of the palace sympathise with Samatism’s approval of the peaceful
cheerful country.
Unlike the rest of 17th century Europe the Renaissance arts developed very gradually in
Portugal. The first ‘pure’ Early Renaissance building period (1530-1550) had developed into the
late Renaissance style of Mannerism by the 17th century. Portuguese Mannerism is
characterised by its simplicity and lack of decoration, and is often referred to as the ‘plain style’
(Estilo Chão). Two significant buildings in the Mannerist style include São Roque Church (156587) and the Monastery of São Vicente de Fora (1582-1629), both of which influenced the mode
of religious buildings in Portugal and her colonies over the next century. Mannerist forms
continued to be used in construction into the next century even after Portuguese architecture
had adopted the Baroque style. In the painted arts, as in the rest of Europe, portrait painting
flourished. The most celebrated of these artists was one of the few female artists known in the
Baroque era, Josefa de Obidos. Her best known portrait is Faustino das Neves, dated c.1670.
The 17th century was a golden age for Portuguese tile production. The blue and white azulejos
now indigenous to the country had originally been introduced to Portugal from Spain by Gabriel
Del Barco but it was the Portuguese interpretation of these designs that received immense
popularity in Europe where it was adapted in regional variations as a popular art form. During
this period the status of tile maker was elevated to that of artist, and the tiles considered of
similar value to artwork. Developments in Italy had led to a new method of painting directly onto
the tiles, a technique which would influence various Portuguese artists.
The 17th century saw the peak of the pre-modern Romanian civilisation. Outstanding secular
constructions were being produced by this period, such as the Boyard Mansions and princely
palaces in Moldavia and Wallachia and the lordly castles in Transylvania. Equal advances were
made in the expansion of great monasteries which developed into significant cultural centres
housing schools, art workshops and printing presses. One example of this is the Church of the
Trei Ierarhi Monastery in Laşi (constructed between 1635–1639), which is famed for its lavish
decorations of carved geometric motifs painted with gold leaf. In Wallachia features of the
Baroque were combined with those of the Orient to develop the Brancovan Style.
Characteristics of this style include intricate stone carvings, stucco work and lavish decorations.
Examples include the lavishly decorated Hurezi Monastery in Oltenia or the Palace of
The Scandinavian Countries
By the 17th century Sweden was becoming stronger and more influential than the other
Scandinavian countries. This was a golden age for Swedish art. Queen Christina, ‘the Minerva
of the North’, (1632-1654) attracted many artists and intellectuals to her court, thus continuing
the tradition of foreign influence in Swedish artworks. Two important constructions of this period
illustrate this, Drottningholm Castle (begun 1662) which holds both Dutch and French influence,
and the Royal Palace in Stockholm (begun 1697) which shows the influence of the famous
Italian, Bernini. These buildings were constructed by Sweden’s first internationally recognised
architects, Nicodemus Tessin the Elder and his son Count Nicodemus Tessin the Younger. In
painting and sculpture it was foreign-born artists who dominated the arts scene. In the latter
half of the century the most prominent of these artists was German-born David Klöcker
Ehrenstrahl, considered the father of Swedish art for his role in introducing Sweden into the
mainstream European arts scene. Denmark similarly received strong influences from the
Netherlands and France. This is demonstrated in the works of King Christian V’s master builder,
Lambert van Haven in such Dutch inspired works as the Church of Our Saviour (1682-1696) in
17th century Spain was rife with war, loss of territory and economic crisis throwing its status as
a world power into decline. Despite this the Spanish arts continued to flourish and followed the
path of of mainstream Europe from Mannerism to the Baroque. Although Luis Tristán was the
only artist to continue El Greco’s style into the 17th century, Spanish artists continued to be
influenced by Italy. An example of this is Valencia-based artist Francisco Ribalta (c. 1565-1628)
who adapted the Italian style to produce highly Spanish works with a nationalistic quality. A
further example of the infuence of Italy can be seen in the work of José de Ribera, who was
heavily influenced by Caravaggio and remained unique from other Spanish painters in his
depiction of mythological scenes. Further Spanish adaption of the Italian and particularly
Caravaggio school of art can be seen in the pious images produced by Franciso de Zurbarán
and Bartolomé Esteban Murillo. The most obviously Baroque style work produced in Spain
during this period was that of Juan Valdés Leal (1622-1690). His most notable work in this style
is the Allegory of Death. The Seville school came into its own during this period with the pictorial
experiments and expressive violence of Juan de Roelas (1558/60-1625) and his students.
Painted wooden statues became popular during this century with the work of Alonso Cano and
Montañés (1568–1649) whose works gained popularity due to their expressive and intense
religious fervour.
Allegory of Death Juan Valdés
Post Civil War 17th century England saw a development of ‘Englishness’ in its artwork. This
period is often referred to as Jacobean, a phase that is more temperal than stylistic. The
Baroque style prevails in England as it does in the rest of Europe but is interpreted with the
sense of Englishness. It is portraiture that dominates as the preferred mode of painting. The
portraits of William Dobson and John Michael Wright in the 17th Century began a tradition of
great English portraiture that would last through the following centuries. The ‘Englishness’
sought in these paintings was created through a continuation of the eclectic combination of
southern and northern European traditions introduced by Holbien 100 years earlier, with a
toned-down version of the flamboyance and glamour of Mannerist work. The effect of this was
to produce more subtle, intimate and fresh ‘English’ images. Both Dobson and Wright found
importance in the royal courts of Charles I with their lively and perceptive style. The foundations
of English portraiture and the influences that affected both artists were influenced by the work of
trans-European artists such Anthony Van Dyck and Peter Lely.
The Eighteenth Century 1700 - 1800
The 18th century was a time of social and political change in Europe. This period, which is often
refered to as ‘the Enlightement’ saw a new way of thinking based on reason as the foundation
for authority and knowledge. The Enlightenment was to produce ideas that would cause
revolution and social change, and instigate the rapid cultural progress of the following century.
Although widely adopted throughout Europe. It was the absolutist regime in France that
provided the most fertile ground for the growth of the enlightened attitude. Paris at this time led
in fashion, art and philosophy producing influencial intellectuals such as Jean-Jacques
Rousseau. Likewise it was the Parisian style of the Rococo (1720 -1780) that superseded the
Baroque in the 1730s as the new European style, where it held dominance for the greater
proportion of the century.
The term Rococo is a combination of the French word ‘rocaille’, meaning shell, and the Italian
term ‘barocco,’ a name suggestive of the main features of the style: shell curves and a focus on
the decorative arts. In the courts of Louis XV the rich Baroque style gave way to lighter and
more playful, delicate elements such as the use of curves and lots of patterns. These features
are reflective of Louis’ excessive regime. The Rococo spread quickly to Catholic Germany,
Bohemia and Austria where it merged with German Baroque traditions. The architectural style
of the Rococo was never completely adopted in England, where it was considered ‘the French
style.’ However, it held considerable influence in the production of porcelain, silk and silverware
and gained the support of artists such as Hogarth who considered the ‘S’ shaped curves
prominent in the Rococo style representational of the grace and beauty of nature.
By the 1780s the Rococo had passed out of fashion in France and a new more serious art form
had appeared called Neoclassicism (1750-1830). Neoclassicism drew from Western classical
art and culture in reaction to the Rococo and Baroque styles. The style was an attempt to return
to the perceived ‘purity’ of the arts of Rome, the Greek arts and Renaissance Classicism. In
France this style was representative of a return to ‘virtue’ and the acceptance of the new
ideological demands of the French Revolution. Neoclassicism is characterised by its order,
logic, clarity and realism. Although the style was adopted in France, England and Sweden
during Louis regime it was the second wave of Neoclassicism that rode through Europe on the
back of the Napoleonic Empire.
The new ideologies that spurned political unrest and a new ‘enlightened’ Europe also gave rise
to a new cultural movement by the end of the century known as the Romantic Movement. The
philosophies which took root in Central and Western Europe influenced almost every cultural
part of the age known as the Enlightenment. The Romantic Movement, as it is known developed
as a reaction to the constraints of this Enlightenment. By the end of the century this ‘Age of
Reason’ and scientific discovery was completely rejected in favour of a focus on the senses and
emotion, especially within the arts.
As the Ottoman Empire entered a period of stagnation (1699–1827) it began to lose its grasp on
Eastern Europe. As the Ottoman Empire began to concede its power to Austria, Britain and
France, centralised authority was replaced by varying degrees of autonomy at a local level. This
gave rise to a number of different independent art schools throughout Bulgarian lands. These
schools all followed the principles of the Bulgarian Turnovo art school and deviated from the
Greek Orthodox art dogma.
As in the rest of Europe the 18th century saw the introduction of the Rococo style to Austria as
well as its subsequent rejection in favour of Classicism. The foremost examples of the Rococo
in Austria include the Abbeys of Dürnstein (1731-35) and Melk, both located in Lower Austria.
The most prominent supporter of the Rococo in Austria was Maria Theresa who used the style
extensively in the refurbishment of Schönbrunn Palace. Maria’s court painter Martin van
Meytens provided the greatest visual record of Austrian court life. The leading figures in
Baroque sculpture at this time were Georg Raphael Donner (1693-1741), responsible for the
life-sized bronze statues at the Fountain of Providence in the Nuer Market, Balthasar Permoser
(1651-1732), who created the equestrian statues in the courtyard of Belvedere palace,
Balthasar Moll (1717-85) who created the famous double sarcophagus for Maria and her
husband in the Kapuzinerkirche, and the German-born German Franz Xaver Messerschmidt
(1737-83) who is famous for his portrait busts.
Franz Xaver Messerschmidt: The Beaked
The 18th century saw the beginning of the Bulgarian Revival, it was the time of the Tryavna art
school and the Bulgarian Renaissance. It was also the time of Ottoman regime during which the
crafts bloomed in the small Balkan cities. The abundance of wood and stone combined with the
traditions of the Trunovo art school led to a flourishing of arts and crafts. Distinctive work in this
period was created by the Vitan Masters, Papa Vitan the Elder and Papa Vitan Junior.
Descendants of the oldest and most famous of Bulgarian families of zografs/painters/and
carvers, the work of the Vitans is distinguishable by its professionalism, sense of colour and
harmony, human facial expressions and bright interest in the world around them.
The Baltic Regions
By the late 17th and early 18th century the Baltic countries felt the full effects of the Baroque
style. In Latvia the style was much lighter and restrained in character than in the rest of Europe.
Local artists began to be employed, especially in sculpture and woodwork, to fulfil the
commissions of the Church, the court of the Duchy as well as wealthy individuals. The centre of
this activity was Vilnius where numerous woodcarving workshops started up. By mid-century
the Rococo style appears in this decorative woodwork, especially in church interiors. One
example of this is in the workshop of sculptor Joseph Slawitzekare and his altar sculptures
found in the Piltene Church. In Lithuania the religious paintings of the Baroque met the rooted
tradtions of the Eastern Orthodox Church. The most famous Baroque church in Lithuania is St.
Peter and St. Paul's Church in Vilnius. In Estonia the Swedish nobility brought in the most
fashionable forms of the Baroque such as Palladianism, which consisted of building a city
palace down the whole length of the street. A far more common use of the Baroque was found
in refurbishing mediaeval houses with Baroque details and motifs. The grandest example of the
Baroque in Estonia is the Kadriorg Palace. Italian architect Niccolo Michetti was commissioned
to construct the palace for Peter the Great who wished to created ‘a window to Europe.’
The Czech Lands
By the 18th century the Czech arts witnessed the change from Baroque to Classicism and
Rococo. In architecture the Classicist style influenced building in the new district of Karlín, the
Smetana Embankment, and Slovanský dům (Slavic House) and swimming pool. The Nostic
Theatre (today known as Stavovské divadlo) provides the most important of Prague’s Classicist
buildings. Other buildings in the Classicist style appear in the large growth of public buildings
such as hospitals, schools and office buildings, which grew up to support the burgeoning
industrial society.
The most prominent painter of this period was Antonín Mánes (1784-1843) whose paintings
evolved from colourful landscapes of ancient temples, to depictions of romantic scenery and
realistic landscapes. Mánes was also the first artist to take inspiration from old Jewish cemetery
motifs. By the end of the century Czech nationalism began to creep throughout the country and
the National Revival group was founded in 1784.
Once again it was a French style that dominated the arts of Europe in the early 18th century.
The French Rococo, influenced by Louis XVI’s pastel and wood panelled decorations, had
spread by the 1730s, from furniture to sculpture and paintings. The style developed, through the
work of artists such as Antoine Watteau and François Boucher, to incorporate the complex
forms and patterns of the Baroque with various and diverse characteristics. By mid-century the
style in France was turning away from the frivolities of the Rococo and to a more classical
austerity in Neoclassicism. The most influential painter in this style was Jacques-Louis David,
whose use of Greek and Roman forms and iconography can be seen in The Death of Socrates
(1787). The work of Jacques-Louis David was both typical and highly influential of the
Neoclassical Style and was used to extol the virtues of the French Revolution.
The Death
The work of Johann Balthasar Neumann reflects the height of achievement reached by the end
of the Baroque era. The combination of technical and aesthetic knowledge that had been
reached by this point allowed Neumann to construct grand halls and staircases as well as wide
arches. Among other things he created the impressive Baroque-church “Vierzehnheiligen”
(Christ’s fourteen-Helpers) which he decorated with exuberant ornaments and innovative
painting. Neumann’s most famous work was the Wurzburg Residence, commissioned by
Johann Philipp Franz von Schonborn with Neumann as its principle architect. It is the grand
staircase that is considered Neumann’s masterpiece. A further important example of the
German-Baroque is the so-called ‘Zwinger’ built by the architect Matthäus Daniel Pöppelmann
for the Emperor Frederick Augustus.
When Crete fell to the Ottomans in 1669 the Heptanese School based at the Ionian Islands
succeeded the Cretan School as the leading school of post Byzantine art in Greece. The
Heptanese School was similar to the Cretan school in its successful synthesis of Byzantine
traditions with an increasing influence of art movements in Western European. Free from
Ottoman rule and increasingly absorbed by Italian and Western influence, the Byzantine
heritage became second-hand to that of the Italian Baroque and Flemish art. The Heptanese
School also witnessed the first significant depiction of secular subjects in Greek artworks;
Portraits became more relaxed and less symbolic and there was an increase in artworks
depicting genre scenes, landscapes and still-lifes. Exemplary examples of the developing style
can be seen in the portraits of Nikolaos Koutouzis (1741-1813) and his pupil Nikolaos Kantounis
(1767-1834). The last of the Heptanese painters can be seen to have been greatly influenced
by more modern European art movements. Examples of these are, Nikolaos Xydias Typaldos
(1826/1828–1909), Spyridon Prosalentis (1830–1895), Haralambos Pahis (1844–1891).
The Order of Jesuits, present in the early 18th century, played an important role bringing
mainstream European art development to the attention of Hungarian artists paving the way for
Baroque painting in the country. An important example of Jesuit church architecture can be
seen in the church at Trencsény, designed by a leading figure of Jesuit architecture, Christoph
Tausch (1711-18). Under the tutelage of Andrea Pozzo, Tausch sought to bring out the
illusionary elements in architecture. By mid-century the Jesuit control had diminished and large
scale Baroque frescos of this period continued to be entrusted to artists from abroad such as
Franz Anton Maulbertsch (1724-1796), who created the ceiling fresco for the Cathedral of Győr.
Likewise it was the work of the Italian Antonio Galli Bibbiena (1700-1774) who increased the
popularity of stage decorations and fresco painting. Secular painting also developed in the 18
century. This can be seen in the work of the landscape painter Károly Schallhas (1769-1797),
and in the portraits of János Márton Stock (1742-1800).
The Venetian painter and printmaker Giovanni Battista Tiepolo (1696-1770) is considered one
of the last ‘grand manner’ fresco painters from the Venetian Republic. His work celebrates the
end of the Rococo and the beginning of Neoclassicism. This style was being fuelled in Italy by
the recent discoveries of Pompeii and Herculaneum which had prompted a renewed interest in
the world of antiquity. Tiepolo gained international acclaim, harbouring an ability to depict glory
in frescos that made him particularly treasured by royalty.
The Netherlands
During the 18th century both Dutch and Flemish art fell into decline and neither region produced
artists of equal stature to those of the previous ‘golden’ centuries. French influence becomes
more apparent in Dutch art and architecture; one of the leading architects of the period was
French-born Daniel Marot, who designed parts of the Hague. In painting the French influence is
seen in the work of Adriaen van der Werff. The most prominent Flemish artists of the period
included Léonard Defrance who continued the traditions of genre painting of the previous
century and A. C. Lens the leading Flemish artist in the Neoclassic Style.
van der
ent of
By the 18th century Poland experienced a period of great prosperity that enabled a surge of
artistic production and building activity. The artist Jan Piotr Norblin is considered one of the
most important painters of the Polish Enlightenment. His paintings document some of the most
important historical moments of the last years of the Polish Lithuanian Commonwealth. He
became particularly famous for witnessing and immortalising the Kosciuszko Uprising, and
achieved enormous success in Poland, recieving great commissions from the finest families.
Although by the 18th century Portugal was rapidly losing its status of world power, the final
years of the 17th century had witnessed an explosion of wealth by the Portuguese crown. The
discovery of gold, gems and diamonds in Brazil resulted in Portugal becoming the richest
country in Europe in the early 18th century. King João V, (1706 and 1750) in competition with
Louis XIV embarked on a great number of excessive and grand construction projects. A lack of
confidence in local experience and talent meant King João V spent money on foreign architects
for his constructions. The most spectacular example of the King’s lavishness was his building of
the opulently decorated St John the Baptist Chapel, designed by the Italian architect and
engineer Luigi Vanvitelli. Constructed in Rome with the rarest marbles and stones, the chapel
was then transported to Lisbon where it was re-assembled in the S Roque church in 1747. The
sole purpose of this was to obtain the blessing of the Pope Benedict XIV.
In Northern Portugal a more energetic Baroque style developed, reminiscent of the Baroque in
Central Europe. An example of this can be seen in the cascading Baroque stairway at the
sanctuary Bom Jesus do Monte near Braga, built by the architect Carlos Luis Ferreira
Amarante. The Great Lisbon Earthquake of 1755 destroyed centuries of art and architecture,
reducing the royal palace and its patriarchal church and library to rubble. The new city was
rebuilt in the Pombaline style so named after the chief architect in Lisbon’s reconstruction,
Sebastião José de Carvalho e Melo, 1st Marquês de Pombal. As a result of practical necessity,
low funds and little time the city was re-designed in a restrained form of Neoclassism. The
intelligent architecture proposed the world’s first anti-seismic system as well as the first
prefabricated plan for construction on a city-large scale. Lisbon became transformed from a
mediaeval city to an intelligent modern landscape with large light spaces and good ventilation.
Phanariot Rule brought elements of the Orient into the architecture of Wallachia and Moldavia.
There was a relative decrease in ecclesiastical building at this time so the style is most
prevalent in secular urban civil architecture. In Transylvania both secular and ecclesiastical
architecture was dominated by the Baroque. Examples of this are the Roman Catholic churches
in Timisoara and Oradea, Banffy Palace in Cluj and Brukenthal Palace in Sibiu. Other important
architecture of this period includes the wooden churches of the Maramureş region in Northern
Transylvania, built in response to a prohibition against the erection of stone Romanian Orthodox
churches. A tall tower above the entrance and an oversized roof are the characteristics of these
churches. The church tower found in the Surdeşti village, constructed between 1721–1724, is
one of the highest of this kind in Europe.
The Scandinavian Countries
Despite its political difficulties Sweden’s culture and arts continued to flourish throughout the
18th century. A growing aristocracy joined the monastic patrons of Swedish artworks. It was the
French Rococo which heavily influenced these arts in the 18th century, leaving its traces in
important buildings such as the Royal Palace, and in the paintings of important painters, such
as those of Alexander Rosin. Neoclassism became popular toward the end of the century,
promoted by King Gustav III, who reigned 1771-1792. This style can be seen in the sculptures
of Johan Tobias Sergel. Both Sergel and Rosin became the first Swedish artists to gain
international recognition. Despite the growing number of internationally recognised
Scandinavian artists, many international artists continued to be employed to execute the
fashionable foreign styles. An example of these artists was French born Louis-Jean Desprez,
the architect of the Neoclassic Botany Department of Uppsala University (begun 1787).
18th Century Spain was in political and economic decline after the death of Charles II in 1700,
and at the end of the golden Hapsburg era. However, increases in the economy and trade had a
beneficial impact on the arts. This was especially evident in the decorative arts and printmaking,
as well as ceramics, glass and porcelain. Factories were quickly established in Alcora (1727),
La Granja (1728), and Buen Retiro (1759). The introduction of foreign artists into the courts of
the Bourbon Dynasty led to a waning of regional development in Spanish art. The most
apparent effects of this foreign influence can be seen in the French and Italian style ornate
Bourbon architecture of Madrid. An example of this can be seen at the Royal Palace, designed
by Italian architects Juvarra and Giambattista Sacchetti. Spanish individualism was reawakened
in the work of Francisco Goya (1746-1828), who dominated the Spanish arts through the 18th
century. Both a painter and printmaker his work demonstrates the first signs of expressionism.
His deeply subjective depictions of internal emotion made him instrumental in the development
of future Spanish modern artworks such as those of Picasso.
Francisco Goya:
Saturn Devouring His Son
William Hogarth is considered the most important British artist of his generation. He was a
painter, printer, satirist and cartoonist. His work, which entered a world where artwork was
becoming increasingly accessible, aimed to epitomise, observe and criticise his society. Rather
than sticking to commissions, Hogarth was distinctive in his interest in choosing the subjects of
his work. He invented and then popularised the use of sequential anecdotal pictures to satirise
social abuses. His skill in storytelling through his art form is considered uniquely English and the
influence of his work can be seen in the development of the political cartoon and caricature that
developed towards the end of the century in Britain and France.
The Nineteenth Century 1800 - 1900
The 19th century was a time of imperial expansion and European consolidation. The Industrial
Revolution revolutionised architecture, communication, living and travel in Europe. But despite
these positive implications for the arts, it was the negative aspects of the Industrial Revolution
which became the subject and inspiration for the art movements at the turn of the century.
These movements were focussed on sensuality and emotion. This perception has influenced
the way we have viewed the world ever since.
Landscape art became prevelant in Europe during the 19th century. Each European country
developed its own native tradition of Landcape art, although these paintings rarely achieved the
status of portraiture or subjects of a religious nature.
Early 19th century Western Europe was swept up in the wave of the Romantic Movement. This
movement which had originally developed as a reaction to the constraints of the Enlightenment
was given further impetus by the negative influence of the Industrial Revolution spreading
through Europe. The features of the movement included the stressing of emotion as a source of
aesthetic experience, and the emphasis of achieving emotions, such as awe and nostalgia,
especially when confronted with untamed nature and its sublime and picturesque qualities. In a
reaction to the industrial present, Romanticism focussed on the rural and picturesque past. The
movement’s other concerns included the classical and the mediaeval, with a particular focus on
the mythological and the heroic. A further feature of Romanticism was its focus on nationalism,
an important feature in a Europe experiencing a time of imperial expansion. From its very
beginning Romanticism focussed on developing national languages and folk law. In England,
particularly through the Industrial Revolution, the appealing idea of a rural England harking back
to the past, helped establish a sense of ‘Britishness’ distributed around the world in Victorian
Despite the influence of Romanticism in Italy and England, Paris remained the capital of the art
world in the 19th century. Impressionism grew in reaction to the control of the Academie de
Beaux-arts, which continued to dominate the French arts scene until the middle of the century.
Historical subjects, religious themes, portraiture (rather than landscape and still life), as well as
polished images which mirrored reality in detail, were the accepted form of artwork by the
Academie. The Impressionist movement, which began with a group of similarly minded friends
whose work was continually rejected by the Academie, grew in reaction to these features, and
gained recognition following the production of an independent art show. The Impressionists can
thus be viewed as radicals of their time, breaking the rules of academic painting. The idea of
Impressionism was to recreate the subject in the eye of the viewer, rather than to create an
accurate depitcion of the subject itself. The movement derived its name from Claude Monet’s
‘Impression Soleil Levent’, (Impression Sunrise).
The features of Impressionist painting include visible brushstrokes, open composition, an
emphasis on light and the changing qualities of light, movement, ordinary objects and scenes
and unusual angles. The Impressionists led a shift from work inside the studio to work being
done ‘En plein air’ (outdoors), and as such created distinct techniques specific to the movement.
Although the movement did not receive great acclaim from contemporary art critics, the initial
hostile reaction to Impressionism transformed into an appreciation of a ‘fresh vision’, and its
influence would last into the following century in the movements of Post-Impressionism,
Fauvism and Cubism.
Post-Impressionism is the name given to art which reconsiders the Impressionist position. The
movement generally evolved in French art between 1886 and 1914 A.D and extended the work
of Impressionism by rejecting its limits. The main characteristic of Post-Impressionism is the
emphasis placed on both geometric shape and the distortion of forms for expressive effect. The
aim of Post-Impressionism was to restore a sense of structure to Impressionist painting, but
there was disagreement amongst its followers about the methods of achieving this. The work of
Georges Seurat was concerned with a systematic use of tiny dots, Paul Cezanne desired to
make Impressionism a durable and acceptable art form by reducing the objects to their basic
shapes while retaining the bright fresh colours of impressionism, and Vincent van Gogh
attempted to convey his thoughts through colour and vibrant swirling brush strokes.
Meanwhile in Eastern Europe the Ottoman Empire was facing its decline after huge losses of
territory, and following administrative instability due to the breakdown of centralised
government. This is the period when Bulgaria fiercely fought for its independence after the
Russo-Turkish War in 1877-78. Fuelled by nationalistic movements the Bulgarian artists entered
the period of National Revival and started turning their gaze to secular topics rather than
religious ones.
The growing Austrian bourgeoisie class was reflected in a more solid and monumental
architecture in the 19th century. The architecture of public buildings remained largely
Neoclassical, such as the Palace of Provincial Government in Vienna. The most remarkable
Austrian architecture in the 19th century was the construction of the Ringstrasse, a circular road
surrounding the Innere Stadt district of Vienna. The clambering of European architects wanting
to be involved in the project resulted in an interestingly eclectic mix of French Neo-Gothic (the
Votivkirche), Flemish Neo-Gothic (the Rathaus), Greek Revival (Parliament), French
Renaissance (Staatsoper) and Tuscan Renaissance (Museum of Applied Arts). In the visual
arts a school of Romantic realist painters emerged in rebellion to the ‘academic’ or ‘official’ art of
previous centuries. A good example of these artists was realist painter Georg Waldmüller
(1793-1865), and in particular, his depiction of Viennese Biedermeier society in Wiener Zimmer
(1837). Other important realist painters included Carl Moll (1861-1945), and Joseph Engelhart
The work of Zahari Zograf is strongly influenced by the social and artistic events taking place in
Bulgaria during the 19 century. Zahari Zograf is the most representative figure of the Bulgarian
National Revival. Bulgaria at this time was in a period of socio-economic development and
national integration of the Bulgarian people under Ottoman rule, often cited as the Bulgarian
Renaissance (1760s – 1878). Zahari Zograf is especially noted for his mural paintings and
icons, and his inclusion of everyday elements into his work. He is generally regarded as the
founder of secular art in Bulgaria.
The Baltic Regions
In the early 19th century Classicism and Romanticism replaced the Baroque and the Rococo in
the Baltic countries. By the end of the 18th century the expertise of the local craftsmen was
equal to of other countries. Lithuania developed a strong independent school of architecture
producing architects such as Laurynas Gucevicius, who constructed the Cathedral and the City
Hall in Vilnius. In Latvia the cultural centres at Rīga and Jelgava held exhibitions for both foreign
and local artists. The production of sculptures decreased in this period due to imported
sculptures from Russia and Germany. Meanwhile the importance of painting grew as artists
received training in top academies in St Petersburg, Dresden and Munich. Both portraiture and
landscape painting developed, and themes of rural life became common amongst the first
native Latvian painters. Important artists of the century included Johan Heinrich Bauman, and
the work of Johan Leberecht Egink and Carl Gotthard Graβ, which combined Romanticism and
Classicism. By the end of the century the prosperity of Riga, which had grown to become one of
the Russian Empire’s most influential cities, had led to a growth in the number of educated
Latvians, and consequently the number of art institutions. In the air of nationalism societies
were formed with the sole purpose of producing a national art. The St Petersburg Academy of
Arts, St Petersburg Conservatory and students from the Stiglitz Central School for Technical
Drawing who participated in the “Rūķis” (Gnome) study group all played a role in the
development of a national Latvian identity. Historical paintings appeared by painters such as
Carl Huhn. In Estonia, Johann Köler (1826-99), considered the first Estonian professional
painter, promoted the national awakening of Estonian art.
The Czech Lands
By mid 19th century, under the reign of the Austro-Hungarian Monarchy, the Czech Lands
witnessed great economic growth. A surge of nationalism presented itself in Czech culture,
including the arts and architecture. A distinctly Bohemian national society for the fine arts was
created in Prague in 1848. Buildings that embodied this feeling include the National Theatre in
Prague (1868-83) and the Rudolfinum (1885), which provided a home to the artists working at
this time. This was known as the ‘National Theatre Generation’. Important artists of this
movement worked on this building including the sculptors Bohumil Schnirch, Antonín Wagner
and Josef Václav Myslbek, and the painters František Ženíšek, Mikoláš Aleš and Vojtěch
Hynajs. Romanticism played a leading role in the Czech nationalist zeal. The most prominent of
these artists include Josef Navrátil (1798-1865) and the son of the influecnial Antonin Mánes,
Josef Mánes (1820-71). His most celebrated work is the calendar disc of Prague’s Astronomical
Clock (1866). The other most prominent Bohemian painter of this period is the realist painter
Antonín Chittussi (1847-91). His passion was to paint the landscape of South Bohemia and the
Bohemian and Moravian Highlands. His smaller pictures are some of the most treasured in
Czech painting.
The French maintained dominance in the European arts scene into the 19th century. The
Impressionist movement grew up amongst young artists in reaction to the control of the
Académie des Beaux-Arts in Paris. The young group of artists, which included Claude Monet,
Pierre-Auguste Renoir, Alfred Sisley, Frédéric Bazille and later Camille Pissarro, Paul Cézanne,
and Armand Guillaumin, joined together in the face of rejection by the Academy and its
traditional and conservative standards. Although never fully embraced by the public, the
movement gained momentum in the art world through the century.
By the 1880’s a number of the original Impressionists, such as Degas, rejected the ‘purest’
impressionism of Monet, Sisley, Morisot, and Pissarro, and chose to concentrate on the primacy
of drawing over shape or colour. By the end of the century the Post-Impressionists were
rejecting the limitations of Impressionism and extending the ideas, by an emphasis on
geometric forms for expressive effect.
The Post-Impressionists, although all dissatisfied with the limits of Impressionism, could not
agree on how it should progress. Paul Cezanne tried to find a durable and solid basis for
Impressionism by reducing objects in his paintings to their basic forms, whilst Vincent Van
Gough concentrated on swirling brush strokes as a form of expression.
The Starry
In Germany it was Casper David Friedrich’s Monk by the Sea (1774-1840), which marked the
changes in German artwork and the introduction of landscape painting in the 19 century. The
picture, with its colossal sky and dark narrow band of sea, evokes an emptiness and vastness
with the monk, a tiny figure placed where the sky meets the sea. His work represents the new
position landscape held in painting, rising from a subordinate background, to the focus of the
painting. The work is also represeantative of a focus on emotion and the evocation of nature,
two new common themes of German art. The focus on nature in Friedrich’s work reflects the
Romantic concern with experiencing nature as a means of getting closer to God. Friedrich’s
influence on the Romantic Movement stretched into the next century, influencing artists such as
Barnett Newman (1905-1970). Other great artists in the era of Romanticism include Philipp Otto
Runge (1777 – 1810), famed for his work on colour theory and highly interested in the
connections between painting of landscape and symbolic expression, and Karl Friedrich
Schinkel (1781 – 1841) an architect very interested in Gothic architecture, which he directly
incorporated into his practice of the Neo-classical style.
Due to Ottoman rule Greek art had been centred on Crete and the Ionian Islands from the 16th
to the 19th century. This meant that mainland Greece had not developed with the natural
progression of mainstream European art, such as the Renaissance and the movements which
followed. The starting point for Greek art in the modern sense coincided with Romanticism.
Greek Romanticism combined revolutionary ideals with Greek history and geography. PostOttoman rule, the majority of Greek training was still carried out abroad, and The School in
Munich was a favourite destination. This gave rise to a bond with Greek artists which led to a
Munich School of painting in Greece. Greek Munich School painters placed emphasis on
landscape and portraiture painting as well as still-life. This school produced the first painters of
‘free Greece’, such as Theodoros Vryzakis (1814–1878) and Dionysios Tsokos (1820–1862),
and as such much of their work concerned aspects of war and revolution. The main
representatives of the school are Nikiphoros Lytras (1832–1904), Nikolaos Gysis (1842–1901)
and Georgios Iacovidis. (1853–1907). Despite a number of Greek artists training in Paris, very
few abandoned the teachings of the French Academy and followed the Impressionists; the first
of those who did was Périclès Pantazis. The departure from academic realism by painters such
as Pantazis, was an early indication of the move to replace academism, realism, genre painting,
upper middle class portraiture, still-life and landscape painting with that of symbolism,
Jugendstil and Art Nouveau which would occur by the end of the century is shown by the
acceptance of Expressionist artists teaching at the Athens school of arts.
Hungarian painting reached its peak during the Romantic period of the 19th century. Many
Hungarian painters early in the century were forced to leave Hungary to earn a living. These
included Károly Markó the Elder (1791-1860), the greatest landscape painter of the period
(famous for his painting, Visegrád). Miklós Barabás (1810-1896) was the first popular Hungarian
portrait and landscape painter and was one of few Hungarian painters who managed to make a
living from painting. No other painters of this era equalled Barabás’ popularity or his success. A
leading figure in Hungarian sculpture at this time was István Ferenczy (1792-1858). His statue
Shepherdess is regarded as a reawakening of Hungarian Sculpture. Other important figures in
Hungarian sculpture at this time include József Huber and Lőrinc Dunaiszky (1784-1833). Other
works such as those by Rudolf Czélkuti-Züllich (1813-1890) and József Engel (1815-1901) are
considered more academic but less personal or Hungarian in nature. Nationalism and
Romanticism characterised the second half of the 19th century. A significant figure of this
change is Bertalan Székely (1835-1910). The most prominent figure in art in the 19th century
appeared during this time, Mihály Munkácsy (1844-1900). His landscape paintings, despite
being outdated in style, gained recognition in Paris making him the first Hungarian painter of
European acclaim. Other important painters included Viktor Madarász, Pál Szinyei Merse, and
Mihály Zichy. The art school of Nagybánya (1896) was founded late in the century and would
play an important role in Hungarian art for the next 50 years.
The artist Giovanni Fattori was one of the leading members of a group of Italian painters from
Tuscany, known as the Macchiaioli Group, active during the latter half of the century. The
Macchiaioli ‘breaking of the rules’ style of painting was painted outside in order to capture
natural lighting effects and colours and is considered the forerunner of the Impressionists, who
had similar aims.
The beliefs of the Macchiaioli Group held that the chief components of a work of art were the
light and shadow patches or macchie (patches or spots), a concern that often resulted in a
simplified landscape of atmospheric quality and simplified its essential structure. The concerns
of the group were not shared by their contemporary critics who deemed them to be ‘working
outside the rules’ of artistic expression of the time.
White Oxes
The Netherlands
The defeat of Napoleon (1815) early in the 19th century led to the brief union of the northern
and southern regions to form the Kingdom of the Netherlands. This union was divided again
when in 1830 the southern regions broke away to form Belgium. The art of Belgium during this
time was somewhat revived with the support of the Belgian government, in the spirit of
This is seen in the Romantic paintings of Gustav Wappers, one of the most famous Belgian
artists of the period. Impressionism and Post-impressionism both passed through Belgium, but it
was the work of a Symbolist artist James Ensor who has received the most recognition. His
work bears elements of the Surrealism that was to develop in the following century.
Dutch art likewise saw a revival during this century, although nothing on the scale of previous
The dominant force in the 19th century Dutch artwork was The Hague School, which, influenced
by the golden age of the 17th century, largely produced painted seascapes and landscapes,
church interiors and street and town scenes.
The main artists include Jozef Israëls, the Maris brothers, Anton Mauve, and Hendrick Willem
The two most famous Dutch artists were Johan Barthold Jongkind and Vincent van Gogh, both
of whom lived and worked in France.
The political and military paintings of Polish painter Jan Matejko reflect the growth of
nationalism in Poland and Europe during this period. Matejko’s concern was with promoting
history and intensifying the patriotic feelings within the Polish people. This is demonstrated in
the publication of his illustrated album Ubiory w Polsce (Clothing in Poland). Following the
defeats in Poland, Mateyko abandoned his religious paintings and focussed solely on the
historical subject. Matejko’s concern was not with presenting historical fact but with creating a
mixture of historical and philosophical ideas with which to promote nationalist emotions. In effect
he used history as a present day social function. Despite this it is a testament to the impact of
Matejko’s vision of Polish history, that the challenge faced by scientists and historians of
replacing it in the eyes of the people remains an issue even today.
19th century Portuguese art was influenced by the Romantic, Naturalist, and Realist
movements of Paris. Painters like Columbano, Henrique Pousão and Silva Porto brought a
fresh approach from the academic art of previous centuries. Predominant themes of the
naturalists included rural and marine landscapes, rural customs, urban life and Bourgeois
The greatest of this new wave of artists was Columbano Bordalo Pinheiro, a Portuguese realist
painter who specialised in portraiture. Although the influence of Courbet, Manet and Degas are
evident in his work, the paintings retain an individual gloomy character. By the early 20th
century Columbano had become established as one of Portugal’s first modernist painters.
The 19th century saw the first Romanian artists educated in the West and the entrance of
Romanian painting into mainstream Europe. Most of these artists were schooled in Germany
and later France and the Barbizon school.
The first of these trained artists was Theodor Aman (1831-1891) and then Gheorghe Tattarescu
(1820-1894), Nicolae Grigorescu (1838-1907), Ioan Andreescu (1850-1882) and Stefan Luchian
(1868-1916). Sculpture was also revived during this period and was largely absorbed with folk
law. The most significant of these figures were Dimitrie Paciurea (1873-1932) and Constantin
Brancusi (1876-1957).
The Scandinavian Countries
By the 19th century native Scandinavian artists began to gain international recognition. Norway
finally re-entered the arts scene, fully recovered from the Black Death, on a par with European
Norway produced its best-known artists late in the 19th century, in sculptors Stephan Sinding
and A. G. Vigeland and the Protoexpressionist painter, Edward Munch. Finland awoke onto the
19th century arts scene under Russian rule and the guidance of Carl Ludwig Engel to produce
some of the most impressive Neoclassical buildings of the Nordic region.
Under the support of Russian Tzar Alexander I, Engel who had previously worked on the
buildings of St Petersburg, was responsible for public buildings such as the magnificent domed
cathedral (1830-1840). These buildings helped transform the new capital Helsinki into a
majestic modern city, and spread the Neoclassic Style through Finland.
In Denmark architects such as Christian Frederik Hansen, held authority over the rebuilding of
Copenhagen after the destruction caused during the Napoleonic wars, and were similarly
important in spreading the Neoclassic Style. Despite a decline in economic and political power
Denmark continued to experience its golden age in arts throughout the 19th century.
The fame of the Academy of Fine Arts in Copenhagen (founded 1754), which had witnessed the
blossoming of Danish painting late in the last century with Nicolai Abraham Abilgaard and Jens
Juel, was now attracting numerous students from Germany. Likewise Bertel Thorvaldsen,
working in the Neoclassic Style, became the first recognised sculptor outside of Denmark.
The struggle in each of the Scandinavian countries for independence from foreign domination
resulted in a Romantic and Nationalistic tendency in arts during the 19th century.
This is especially prevelant in Nordic landscape paintings of the later century, such as in the
work of Norwegian Landscape painter Johan Christian Dahl and the maritime paintings of the
Dane, Christoffer Wilhelm Eckersberg.
Bertel Thorvaldsen Neoclassic
The 19th century was important in Spanish economic, political and social history. Spain was
losing its status as a world power suffering defeat in the Spanish American War of 1898 and
losing its remaining colonies. Development of fine art systems, free from monastic and religious
powers and a new class of patrons, had evolved along with the notion of the production of ‘art
for arts sake’. In this climate Romanticism and the Industrial Revolution left its mark in Spanish
works, and social and material changes created momentous progression in the artistic
development of many Spanish regions. Some of the more experimental of these artists,
influenced by Goya, led them to produce similar work to that of the Impressionists. The most
famous works of this period were created by Joaquín Sorolla y Bastida, whose works of
landscapes, and social and historical themes contain elements of Romanticism. Mariano
Fortuny (1838-1874) whose pictures held both elements of Romantic interest with Orientalist
themes, and brushwork similar to the style that the Impressionists would develop later. By the
end of the century the work of sculptor and architect Antoni Gaudi was likewise pushing the
boundaries of Spanish art. His almost hallucenagenic structures encouraged a brave new style
of Modernism into Spain. As with previous Spanish art Gaudi’s work can be seen as a fusion of
European influences with those of local traditions, in particular those of the Gothic and
traditional Catalan models. It was however the injection of his own unique style into this fusion,
which created buildings such as La Sagrada Família and physically altered the city of
Barcelona, endowing it as the centre for modern architecture in Spain.
In 19 century Britain it is the work of John Constable and Joseph Mallord William Turner who
demonstrate the changes in Landscape art. Combined, the two artists explored and developed
the styles of the Barbizon school and Impressionism which were seeping over from France.
Both artists developed a free style of painting which was to greatly influence Landscape art,
although it was different in both style and content. Turner’s landscapes strove for the
atmospheric, while Constable concentrated on creating the physical actuality of his subjects.
The works of Turner and Constable were the first Landscape works to create a significant
impact in Europe and elevate Landscape art to a new level.
The Twentieth Century 1900 - 2000
The 20th century was a time of internationalism for Europe. The century began with economic
depression, the rise of dictatorships, the Russian Revolution and rise of Communism, all of
which preceded two world wars. Post-war Europe emerged a very different place, void of
empires and full of revolutionised technologies such as the motorcar and information
technology, television, and photography, and towards the end of the century the internet. All of
these revolutionised communication, while the invention of the motorcar and the plane created
ease and frequency of travel. In short the world became smaller and more in reach of the
European artists. 20th Century art can be seen to evolve both in the light of these changes and
under the influence of a confidently self-aware society. This can be seen in the rapidly
developing and changing art movements of the era.
Early 20th century art is comprised of a rapid progression of symbiotic new art movements.
Modern Art, as the group is generally termed, begins with Modernism in the late 19th century
which transformed the Impressionism of the earlier century into more abstract and expressionist
works. The first 20th century art movements evolved directly from the Impressionists of the 19th
century in the form of Fauvism in France. The characteristics of this movement were its
heightened use of non-representational colour in figurative painting. Abstract or nonrepresentational art developed about the same time and was led by Kandinsky in Munich. While
in France the similar movement of Cubism, led by the works of Picasso, introduced the idea of
multiple perspectives into one painting. The Dadaist movement, and its most famous advocate
Marcel Duchamp, rejected conventional art styles entirely and instead exhibited found objects.
Dadaism quickly evolved into Surrealism with the work of Salvador Dali. Meanwhile the Futurists
were rejecting the old and looking to the future. As enthusiastic exponents of the success of
technology over nature they set about creating innovative images and architecture full of
movement and machine age imagery.
The 1950’s saw the focus of European art shift to the West and refocus on America’s
interpretation of expressionism. An evolving movement of Abstract Expressionism produced
some of the most influential artists of 20th century art in Mark Rothko and Jackson Pollock.
America was also responsible for the development of Pop Art and artists such as Andy Warhol,
whose production of commercial imagery on a massive scale diminished the role of the artist
and introduced the need for assistance and mechanical needs in the production of artworks.
Such changes marked a change from Modern to Post-Modern art.
The end of the 20th century saw both the evolution of Minimalism, which rejected American
Expressionism and concentrated on stripping artwork down to its most fundamental features,
and the introducion of Conceptual art, which placed importance on the idea rather than the
object of art. The final decades of the century witnessed a fusion of earlier ideas. This is
demonstrated by Damien Hirst’s exhibition of formaldehyde-encased animals, which infuses
Pop Art, Dadaism and Conceptual ideas.
In Austria the 20th century saw a localised version of the European Art Nouveau. The rejection
of the ‘pompous’ and ‘artificial’ academic arts accumulated in the Secessionist Movement
(Sezessionstil) at the turn of the century, largely made up of the students of Vienna’s Academy
of Fine Arts. The most famous of these Avant-garde artists was Gustav Klimt (1862-1918) with
his creation of an enormous 33m long gem-encrusted frieze (1902), dedicated to Beethoven. A
similar reaction was occurring in architecture at this point, where there was a search for more
natural and functional forms. A leading figure in the foundations of this movement was Otto
Wagner (1841-1918) who designed Kirche am Steinhof and the Postsparkasse (Post Office
Savings Bank) in Vienna. New technology and building materials were exploited during this
period by artists such as Joseph Hoffman (1870-1955) and Adolf Loos (1870-1933), who used
glass, newly developed steel alloys, and aluminium and rejected heavy ornamentation in
architecture such as the Michaelerplatz Building. Post war Vienna did not just restore her old
historic buildings but transformed them in a streamline and functional Modernist fashion. The
50s and 60s saw the development of a more socially conscious Austrian art. Viennese
Actionists included Hermann Nitsch, Otto Muehl and Guenther Brus all of whose work placed an
emphasis on social change. Contemporary Austrian artists include Anzinger, Schmalix,
Bohatsch and Klinkan, and contemporary architects include Haas Haus, Friedensreich
Hundertwasser and Hermann Czech.
Gustav Klimt:
The kiss
Vladimir Dimitrov is considered the most representational and remarkable painter and stylist in
Bulgaria in the post-Russo-Turkish War era. His work has been likened to that of the Fauvist
artists working at the same time in Western Europe. During the wars, influenced by Tolstoyism,
he remained apart from the developing atmosphere of jingoist exaltation to which many
Bulgarian intellectuals were leaning and instead portrayed the tragedy of the events. His work
demonstrates a shift after the wars and a refocus on native art, a feature synonymous with a
refocus throughout both Europe and Bulgaria on finding a ‘national art.’ This meant a search for
something specifically Bulgarian. Vladimir Dimitrov became a master of this return to native
values, beginning early in the century with his production of a series of pictures that revealed
elements of a new plastic syntax capable of expressing the national spirit of art. Realism
reigned as the principle style of Bulgaria at this time and, despite the symbolic quality of
Vladimir Dimitrov’s work, he fits within this style.
The Baltic Regions
By the turn of the century Latvian artists, fully aware of the European art scene were embroiled
in Impressionism and Expressionism. Latvian art was lifted to the level of European art by the
likes of Jānis Rozentāls, Vilhelms Purvītis and Jānis Valters. As in Germany, graphic art
became important in Latvia at this time merging Art Nouveau with Symbolism and Realism.
Modernism throughout the war years developed under artists such as Jāzeps Grosvalds,
Jēkabs Kazaks and the Rīga Art Group. In Estonia the progression of modern art was hindered
due to the fact that there was a developing awareness of imported art from abroad. As a result
of this Estonian artists were cultivating and intertwining different art trends at the same time,
Impressionism (which developed as late as the 1930s), Divisionism, Post-impressionism, Art
Nouveau, Symbolism, Expressionism and National Romanticism developed simultaneously and
not one of these styles appeared in Estonia in their pure European form. This can be seen in
the work of the first Estonian Modernists Konrad Mägi, Jaan Koort, Nikolai Triik and Aleksander
The Czech Lands
By the later half of the 19th century the National Theatre generation was supplanted in the
1890s by the Mánes Association of artists. The Manes was significant for its encouragement
and interaction with international art movements, most specifically the Avant-garde. Early into
their development this group of artists split and the group fragmented. Several small
movements evolved, particularly in the fine arts. Expressionism was developed by Antonín
Slavíček (1870-1910) whose paintings demonstrate the beginning of modern Czech landscape
painting and continued in the works of Emil Filla, Bohumil Kubišta and Antonín Procházka. The
first traces of Symbolism came in the sculptures of František Bílek (1872-1941), Jan Preisler
(1872-1918), who demonstrated both symbolism and impressionist in his work such as Černé
jezero (Black lake) and Pohádka (Fairytale). Symbolism developed into Sursum which was led
by some of the biggest figures in Czech art such as Jan Zrzavý and Josef Váchal (1884-1969).
Graphic designer Max Švábinský (1873-1962) created the School of Graphic Arts, the first
professor of a special graphic arts section at the Academy in Prague; Significant figures of
Czech cubism included Emil Filla, Bohumil Kubišta, Antonín Procházka , Josef Čapek (1887-
1945) and Otto Gutfreund (1889-1927). Abstract painting in this period was led by Vojtěch
Preissig (1873-1944) and František Foltýn (1891-1976) and the group most assocaiated with
Surrealism was the Ra Group led by Jindřich Štyrský (1899-1942) and Toyen (1902-1980). The
post war years gave birth to a generation influenced by the Avant-garde. Three distinct groups
formed during this period, Skupina 42, Skupina Ra and Sedm v říjnu (Seven in October), which
included internationally renowned artists such as Václav Hejna, Josef Liesler and František
Jirousek. Two contemporary artists who continue in the spirit of Postmodernism include David
Černý (1967) and Jaroslav Rona (1957).
Early 20th century France saw experimentation which would greatly impact on the world arts
scene. The Impressionists and Post-Impressionists had unleashed a plethora of
experimentation and restlessness throughout the French arts scene. Fauvism, headed by Henri
Matisse was a short lived development of the Impressionist movement which favoured the
painterly qualities rather than the representative values of a painting. Meanwhile there were new
influences entering the arts scene from closer contact with the Far East and Africa,
demonstrated in work such as Pablo Picasso’s Demoiselles d'Avignon of 1907. The first strong
movement to arise from such experimentation was Cubism pioneered by Pablo Picasso and
Georges Braque, a style which remained highly influential early in the century in France.
Cubism taught the deconstruction, analysis and reconstruction of objects as well as exploring
an object from many perspectives. During the war years it was Dadaism that was wildly
embraced by artists already captivated with the works of Sigmund Freud. Conceptual
experimentation turned to an exploration of the subconscious and the mind, as well as the
physical exploration of new techniques such as collage and decalcomania. Dreamscapes were
produced as Surrealism swept across the French arts scene. Experimentation continued in
France after the war and areas such as Tachism, Fluxus and New Realism were investigated,
but the dominance of France on the world art scene diminished as The United States in
particular began to take a more pivotal role.
Henri Matisse
Blue nude
The scope of German art in the 20th century is marked by the development of artist
associations like the Brücke (1905), the Deutscher Werkbund (1907) and the Blaue Reiter
(1911). These associations gathered different kinds of artists, architects, musicians, painters,
craftsmen.. The Neue Sachlichkeit (1925) and the Bauhaus (1926) are further vanguard art
movements that still have influence on arts, architecture and painting, despite being suppressed
and forbidden during the Nazi-regime in Germany and branded as “abnormal” art.
Jorg Immendorff (1945-2007 A.D.) is one of Germany’s best-known 20th century painters
among Gerhard Richter, Sigmar Polke and Anselm Kiefer. His most important work is both
political and historical in subject and holds elements of Abstract Expressionism, Surrealism and
Dadaism. His style of Abstract Expressionism is not unusual for the period in Germany and was
clearly influenced by the earlier work of Markus Lupertz and Georg Baselitz. His historical
paintings show influence from Anselm Kiefer. From early in his work Immendorff had political
and neo-Dadaistic tendencies, which helped lead to an exclusion from the Art Academy
Dusseldorf in 1969.
The political tendencies of his work increased throughout the 1970’s and he stayed close to
politicians such as Gerhard Schroder of whom he painted a large portrait. It is the prediction of
the reunification of East and West Germany in his series entitled Cafe Deutschland produced
throughout the 1970’s and 80’s, which makes his work important as representative of Germany
during this period. It is Immendorff’s portrayal of the reunification of Germany, one of the most
important parts of late century German history, which make his work distinctively important.
By the 20th century Greek artists felt the influence of the Impressionists, and attention turned
from the Munich schools to those of Paris. Greek landscapes became the main focus of study,
with a particular emphasis on the light and colours of Greece. Significant representatives of this
period are Konstantinos Parthenis, Konstantinos Maleas, Nikiphoros Lytras and Georgios
The period of the 1930’s saw an attempt by Greek painters to associate European trends to
Greek culture and tradition. This can be seen in the work of Yiannis Tsarouchis, Yiannis
Moralis, Nikos Hadjikyriakos-Ghikas, Spyros Vassileiou, Alekos Kontopoulos.
Spyros Papaloukas and Alekos Kontopoulos in particular, are credited with introducing the
abstract into Greek works. The second half of the century produced numerous Greek artists of
international acclaim including Constantine Andreou, the sculptor Thodoros Papadimitriou, the
founder of Metaphysical art, Giorgio de Chirico, a pioneer of the Arte Povera movement Jannis
Kounellis and abstract artist Theodoros Stamos.
Alekos Kontopoulos, sketch
At the beginning of the 20th century it was the Nagybánya School who nurtured the seeds of
modernism in Hungarian artists. The most influential artist and teacher of this school was Károly
Ferenczy. A Postmodernist group known as ‘The Eight’ also grew up during this period. The
complex style of The Eights incorporated the composition of cubism with the decorativity of the
Fauves and contain influences of German Expressionism. Examples of this can be seen in
Riders on the Shore (1910) and the tableau of Bertalan Pór, The Family (1909). By the end of
the war years the work of The Eight was developing in a radical direction under the influence of
a group called Activism. Significant representatives of this group are József Nemes Lampérth
and Béla Uitz.
One of the most internationally recognised Hungarian artists of this period is abstract artist
László Moholy-Nagy. In architecture Hungarian Art Nouveau became based on the national
architectural characteristics often taking the inspiration for the eastern origins of the Hungarians
as well as from Indian and Syrian architecture. An example of this is the work of Ödön Lechner
(1845–1914), the most important figure in Hungarian Art Nouveau. In the post war years
Szentendre Artist's Colony, founded in 1928 was the heart of the Avant-garde movement in
Hungary. Important artists of this school include Jenő Barcsay and the wild and colourful
pictures of Béla Czóbel such as Young Girl with Ribbon, c. 1930 and Still Life with Jug.
Surrealism was developed in Hungary by Lajos Vajda and Dezső Korniss.
The work of Italian painter and sculptor Umberto Boccioni is representative of the 20th century
Futurist movement. Boccioni was schooled in Impressionist and Post Impressionist art in Paris
during 1906, and has been clearly influenced by the Cubist notion of creating the excessive
static, but it was meeting fellow Futurist Filippo Tommaso Marinetti that shifted the direction of
his work and inspired his writings on Futurism. Boccioni soon became the main theorist of the
movement. The Manifest, which he co-authored, stated that the goal of the modern artist was to
get rid of the models and the figurative traditions of the past and to concentrate on the evolution
of the lively, contemporary and modern world and its technology. Like other Futurists Boccioni’s
work is concerned with movement, speed and technology. Boccioni enthused how it was the
dynamic feeling of the sciences that was being represented, and not the physicality of the
objects themselves. It was the intention to illustrate the interaction of an object in motion with its
surrounding space. The work of Umberto Boccioni is important in demonstrating both the
transition of art ideas into the 20th century and their transformation into the new technological
The Netherlands
Of all the 20th century movements in Belgium, it was Surrealism that held the greatest
significance for the progression of Modernism, namely the work of René Magritte and Paul
Delvaux. In the early post-war years a group of artists named Jeune Peinture Belge were
supporters of Abstract Expressionism. These included Pierre Alechinsky and sculptor Pol Bury.
Important figures in early 20th century Dutch art were supporters of the Abstract, Piet Mondrian
and the group called De Stijl (‘The Style’). Their influence was mainly in architecture and design,
most notably on the Bauhaus in Germany. After the wars a different group of Abstract artists in
The Cobra Group wdere important in the development of Dutch modern art, seeking a less
conventional and more expressionistic style of painting. The most significant of these artists was
Karel Appel the most prominent post war Dutch artist. The rebuilding of the city of Rotterdam
included new architectural achievements such as the Lijnbaan shopping centre (1953-1955) by
Johannes van den Broek and Jakob Bakema. More contemporary well known Dutch architects
include Rem Koolhaas and Jo Coenen.
Pol Bury "George
Polish sculptor Magdalena Abakanowicz is regarded as one of the most influential female artists
of the 20th century. The 1960’s saw the production of Abakanowicz’s most important works,
gigantic 3D fibre works called Abakans. Each Abakan is created from woven material and often
reach sizes of up to thirteen feet.
The metamorphic language of this and later work fits within the new conceptual form of art
being produced throughout the century. Such a form of sculpture caused a revolution in the use
of artistic fabric and confirms Abakanowicz’s importance in 20th century art.
The Portuguese artists based in Paris during the turn of the century drew inspiration from the
growing Avant-garde. These ideas combined with the Republican Revolution in 1910 to help
conceive the Portuguese Modernist movement. A notable Portuguese artist living in Paris and
contributing to the international Avant-garde scene was Amadeo de Souza-Cardoso. However it
wasn’t until the 1930s that Portugal itself experienced the creation of Modern art. The artist
Almada Negreiros has become one of Portugal’s most noted 20th century Modernists who,
despite calling himself a Futurist artist, crossed the boundaries of Modernist styles,
incorporating both Cubism and Surrealism into his work. Maria Helena Vieira da Silva (1908–
1992), an Abstractist producing internationally acclaimed works by the 1950s, demonstrated the
continuance of the Portuguese-French relationship. Contemporary artists in Portugal include
Paula Rego, Pedro Cabrita Reis, and Julião Sarmento. In architecture the work of Fernando
Távora, Tomás Taveira, Eduardo Souto de Moura and, especially, Álvaro Siza have become
widely renowned.
de SouzaCardoso:
da Casa
The first half of the 20th century is considered a golden age for Romanian culture. In the arts it
is the sculptor Constantin Brâncuşi (1876-1957) who has achieved the most international
recognition for Romanian art. His pioneering abstraction sculptures, which draw inspiration from
folk art, have made him a central figure of the Modern movement in both Romania and Europe.
In painting, the postwar years absorbed the Impressionist experience and other modern trends.
Important artists of this time include Nicolae Tonitza (1886-1940), Francisc Sirato (1877-1953),
Camil Ressu (1880-1962) and Lucian Grigorescu (1894-1965).
The communist period brought about a censorisation in the arts. However this did not limit the
development of vaious 20th century styles seeping into Romania such as Oneirism and
Symbolism. This is demonstrated in the works of Ion Tuculescu (1910-1962), the chromatic
synthesis in the work of Alexandru Ciucurencu (1903-1977), and the dramatic Realism of
Corneliu Baba (1906-1998).
The Scandinavian Countries
Each Scandinavian country strived for and subsequently achieved independence during the
early 20th century. The Scandinavian arts turned to the mainstream movements of Europe.
Important artists of this early period include Swedish painter Carl Larsson and sculptors Carl
Milles and J.T. Sergel. Early in the century the influence of the Norwegian-born but Germanbased Expressionist Edward Munch is seen in the work of Henrik Sørensen and sculptor
Gustav Vigeland. The attraction of Paris did not escape the Nordic artists at the beginning of the
century: Artists such as Isaac Grünewald of Sweden and the Norwegian Axel Revold, who
studied under leading French artists such as Henri Matisse, helped the flow of ideas of modern
art into Scandinavia.
The results of this influence can be seen in the Abstract films of Viking Eggeling in the 1920s,
and Asger Jorn, one of the leaders of post-war Abstract Expressionism. Contemporary
Scandinavian artists include Olafur Eliasson whose art concentrates on the use of space. In the
20th century it is the fields of architecture and design that the Scandinavian countries have
gained the most international credit.
The pure, sleek and simple design of furniture and the applied arts including ceramics,
woodwork, glasswork and metalwork, have been imitated widely. Two of the most important
Scandinavian architects are Alvar Aalto from Finland and Gunnar Asplund from Sweden. Grace,
elegance and dignity are characteristics of their building style. In Denmark excellence has been
achieved in industrial and furniture design such as the silverware of Georg Jensen and Arne
Jacobsen and the sleek electronics designed by Bang & Olufsen.
The Spanish Civil War and the oppressive dictatorship which followed meant that early 20th
century Spain suffered a long period of political and economic isolation. Spanish artwork on the
other hand was becoming an important force in European art, producing some of the most
important figures of the century, namely the Cubists Pablo Picasso and Juan Gris and the
Surrealists Joan Miró and Salvador Dalí.
Dividing his time between Barcelona and Paris in the first half of the century Picasso became
one of the most well known representatives of Modern art. Best known for his role in the
development of the Cubist movement, the influence and evolution of which can be seen in both
the other leading figures of Spanish 20th century art, Miró and Dalí. Salvador Dalí, who joined
his fellow countrymen Picasso and Miró in late 1920s Paris, had passed through many phases
of Cubism, Futurism and the metaphysical to become one of the leading figures of Surrealist
Based on the unconscious, one of the most common features of Dalí’s work was melting
watches and burning giraffes. The latter half of the century saw an explosion of abstract
expressionism in Spain predominantly led by Antoni Tàpies and Modesto Cuizart.
Two important English sculptors gained international fame during this period, Henry Moore and
Barbara Hepworth. During 1933 Moore and Hepworth formed a group called ‘Unit 1’ which
became the centre for British Abstract art. Moore and Hepworth were influenced after meeting
Pablo Picasso and other Avant-garde artists in Europe, and found similar abstract forms in the
study of Pre-Columbian, Egyptian and African sculpture. The distinctive characteristic of the
work of Moore and Hepworth is the organic nature of their work, which combined abstract
geometric forms with natural materials. In its combination and research of European and African
arts their work also reflects the opening up of the world to the artists of the 20th century. Their
Abstract work gained international fame by the middle of the century and inspired a generation
of British sculptors.