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History Essay on The Presentation at the Temple

“The Presentation at the Temple”

This manuscript is among the most impressive paintings that were drawn during the Romanesque art times. This is because there were no fresco medium restrictions that were applied on most thick walls. This manuscript provides an important possibility of a highly detailed Romanesque period1. Romanesque period is among the popular architectural styles that were common during the medieval era in Europe. Its characteristics include artworks with round arches, sturdy piers, decorative styles and massive quality.

“The presentation at the Temple” is among the artistic pieces that depict defined and clear form elements that have complete simplicity that narrates biblical messages using characters. The colors and decorative elements produce a great feeling in spectators by giving biblical messages directly. The messages are driven in a way that enhances the adoration of the presented characters2.

This picture had a great significance because most people who admired it could not read. Thus, it communicated a message related to Christ to them. The illuminated manuscript has a religious nature because the bible was the case for most painting themes of the Romanesque art times3.

[1] Collins, Kristen M., Peter Kidd, Nancy Turner, and Kristen M. Collins. 2013. The St. Albans psalter: painting and prayer in medieval England.

2 Ibid

3  Calosse, Jp. A. 2011. Illuminated Manuscripts. New York: Parkstone International.

The perspective of this painting is very distorted and flat with vibrant figures that are displayed over a simple background. Its patterning is linear and it has an abstraction frontlet. The five figures of the painting are represented in a natural manner and they respond to the symbolic characteristic of the Christ message that it carries in a more effective way4.

The decoration experience of “The presentation at the Temple” is notable due to its vast space with smooth curves which is appropriate for the pictorial message that it depicts. This makes this aspect a subordinate art of the entire artistic architecture. The symmetrical composition, plain colors, and expressiveness of this picture appear to fade. The printed figures’ rigidity indicates a clear biblical influence via art5.

The communication aspect is strengthened by the painting while passing a biblical message by presenting baby Christ within a temple. As such, the painting is presented as an ancient channel of intellectual communication. It enhances clear understanding by representing the contrasting color of the image and an outer lining’s contour of gold against the simple background that has a gestural representation6. This manuscript is a representation and illumination of Christ in the temple. It is revolutionary due to its objects and unique design.

4 Calosse, Jp. A. 2011. Illuminated Manuscripts. New York: Parkstone International.

5 Ibid

6 Ibid, 44.

7 Toman, Rolf, Achim Bednorz, Fiona Hulse, and Ian Macmillan. 2007. Romanesque: architecture, sculpture, painting. [Konigswinter, Germany]: Tandem Verlag GmbH.

 

Elaborative and decorative colors and patterns characterize it. They make it a great example of properly developed paintings that use Romanesque style7. Stretched and elaborate figures as well as intense emotions also characterize it. An important impression of the patronizing gateway that enables observers to look into its interior to get a clear meaning that is being represented is established by the Romanesque frame of this painting. The painting has a slender column with decorations that uphold the ribbed vaults of the painting with unique gold curves depicted on a background that has a dark blue color8.

The virgin is visible on this painting giving this baby to Simeon. Simeon receives the baby on his veil hands. One can see Christ as He blesses Simeon and the two females are paired in the painting. The symmetry bears offering doves9. The painting’s characters stand in a building that is domed and beneath it there is an alter lamp. This depicts a religious theme and the color technique is used to depict a different tone. This painting indicates a presentation in a temple which is an event that the Hebraic law marks forty days from the day a child is born. This event enables the mother of the baby to purify herself10.  There is a cloth that is held by the central columns that are slender and this is where the baby is kept.  It is possible to see the child as he move feet as Simeon speak while trying to hold the baby in the arms.

8 Collins, Kristen M., Peter Kidd, Nancy Turner, and Kristen M. Collins. 2013. The St. Albans psalter: painting and prayer in medieval England.

9 Ibid

10 Toman, Rolf, Achim Bednorz, Fiona Hulse, and Ian Macmillan. 2007. Romanesque: architecture, sculpture, painting. [Konigswinter, Germany]: Tandem Verlag GmbH.

11 Collins, Kristen M., Peter Kidd, Nancy Turner, and Kristen M. Collins. 2013. The St. Albans psalter: painting and prayer in medieval England.

The manuscript’s scene is set in a church that has fine decorations using a Romanesque style which is similar to Siena Cathedral. There are two aisles in the setting of the church and three-foiled arches surmount them11. The character of the painting depicts a dimensional variance which emphasizes spiritual expression. It involves different bright colors with intensively contrasted strips.

Black color is used to make outlining figures against the background of the painting possible12. The used colors also indicate a simplicity aspect as well as a formal outlining that gives a divergent elaborative aspect in the painting13.  It is possible to see figures at any angle that is related to pictorial cube. This is due to the placement of the child on a painted space that has a blue color which gives the measurement of the space behind the picture.

The child is projected into the space by this painting which creates a bridge in this artistic work. Only spatial device that has a corresponding ledge can appear in this type of work14. The architecture places a scene in Jerusalem temples. Alter appears in this manuscript with a chalice that refers to Eucharist. The abstract pattern that the painted stripes present establishes relatively majestic rhythms in the images of that time15.

12  Collins, Kristen M., Peter Kidd, Nancy Turner, and Kristen M. Collins. 2013. The St. Albans psalter: painting and prayer in medieval England.

13 Collins, Kristen M., Peter Kidd, Nancy Turner, and Kristen M. Collins. 2013. The St. Albans psalter: painting and prayer in medieval England.

14 Collins, Kristen M., Peter Kidd, Nancy Turner, and Kristen M. Collins. 2013. The St. Albans psalter: painting and prayer in medieval England.

15 Collins, Kristen M., Peter Kidd, Nancy Turner, and Kristen M. Collins. 2013. The St. Albans psalter: painting and prayer in medieval England.

Bibliography

Calosse, Jp. A. Illuminated Manuscripts. New York: Parkstone International, 2011. http://public.eblib.com/EBLPublic/PublicView.do?ptiID=791357.

Collins, Kristen M., Peter Kidd, Nancy Turner, and Kristen M. Collins. The St. Albans psalter: painting and prayer in medieval England, 2013.

Toman, Rolf, Achim Bednorz, Fiona Hulse, and Ian Macmillan. Romanesque: architecture, sculpture, painting. [Konigswinter, Germany]: Tandem Verlag GmbH, 2007.

 

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