Christ in Majesty

Abstract

In this study we try to explore the era of Sculpture currently being studied in the Boston Museum of Fine Art in a holistic context. The main focus of the research is on the medieval object in the Museum and we have taken Christ in Majesty as the object. The research also analyzes many aspects of Romanesque Sculpture and tries to gauge its effect with Christ in Majesty.

Table of Contents

Abstract1

Introduction3

Historiography4

Christ in Majesty4

History5

Sculpture6

A.TYPE OF SCULPTURE:6

B.MATERIAL AND TECHINICAL MEANS:6

Analysis of the Sculpture8

E. LINE:8

F. SPACE:8

G. COLOR:8

H. LIGHT:9

I. TEXTURES:9

Conclusion10

Works cited12

Christ in Majesty

Introduction

The Museum of Fine Arts in Boston, Massachusetts, is one of the largest museums in the United States, attracting over one million visitors a year. It contains over 450,000 works of art, making it one of the most comprehensive collections in the Americas. It is also the 54th most visited art museum in the world, as of 2010. The museum was founded in 1870 and its current location dates to 1909. In addition to its curatorial undertakings, the museum is affiliated with an art academy, the School of the Museum of Fine Arts, and a sister museum, the Nagoya/Boston Museum of Fine Arts, in Nagoya, Japan.

The term Romanesque defined in art history, the period from 1030 to half of the twelfth century, between the pre-Romanesque art and the Gothic. It is forged in 1818 by the archaeologist Norman Charles de Gerville and passes into common usage from 1835. Romanesque art includes both the Romanesque sculpture and statuary that the novel of the same era. The term covers a variety of regional schools with differentiated characteristics. It was not the product of one nationality or one region, but appeared gradually and almost simultaneously in Italy, in France, in Germany, in Spain and Portugal. In each of these countries, it has its own characteristics (e.g. the use of different stones in each region), although with a unit enough to be considered the first international style, with a European framework. Its domain of expression is essentially religious.

Historiography

For many years, art historians oppose the Romanesque, the product of a company with a scary God, and the Gothic marked by a triumphant optimism of a society glorifying the Creator. The Romanesque style would be recognizable only by the shape of its arches, its low elevation and its barrel vault.

However, many buildings of the Romanesque period early adopt the ribbed. The observation of buildings belies the thesis break,

In the twelfth century, during the birth and experiments of Gothic, Romanesque elements remain in the new cathedral;

In southern Europe, the novel continues in the thirteenth century: the cathedral of Albi has a massive silhouette and few windows while the northern cathedrals know the momentum Gothic Colette Deremble evokes rather a "mutation Gothic novel”.

In England, Romanesque architecture that can thirteenth century. In Eastern Europe, it continues to xv.

On the other hand, the first Gothic buildings appeared to 1130-1150 in the Ile-de-France. Gothic art is the art of the Goths, in other words the "barbarians" who have ...