Analysis_and_Interpretation_of_Mid-12th_Century_Christian_Romanesque_Artwork

Analysis and Interpretation of Mid-12th Century Christian Romanesque Artwork This essay will analyze and interpret the style and technique of a mid-12th century Christian fresco painting that once filled the apse of a monastery church in a Catalonia, Spain (Museum of Fine Arts Boston, Christ in Majesty with Symbols of the Four Evangelists). The Romanesque piece depicts Christ with several influential Christian figures and is composed in a style similar to paintings that thrived throughout regions of Western Europe in the beginning of the second millennium. The iconic artwork communicates that Christ and his message are of utmost significance, reflecting the cultural shift in Western Europe towards Christianity. “Christ in Majesty with Symbols of the Four Evangelists” is an impressive, 24’ x 22’ fresco secco transferred to plaster and wood of Christ in an iconic scheme. The fresco, a departure from the Byzantine mosaic style, is composed of three registers expressing the positions of precedence and rank within the Christian religion, similar to the “Justinian, Bishop Maximianus and attendants” mosaic on the San Vitale apse. Christ and the Four Evangelists occupy the top register, comprised of four quadrants, which house each Evangelist. Matthew the human is top left; John the eagle is top right; Mark the Lion is bottom left and Luke the calf is bottom right. The quadrants contain identifying labels and their position in the top register with Christ distinguishes them from the other figures in the painting. The Twelve apostles occupy the middle register and there are three passageway scenes, each with a roof and a floor painted in perspective, which effectively draws the viewer to the fresco. In the left passageway, two figures jump for joy among starbursts, signifying salvation. In the middle passageway, a figure holds a pot with money bursting from it and a man holds a horse, representing the benevolence of gift giving. In the right passageway, Abraham holds a hatchet with his son Isaac, Rebecca and the symbolic hand of God, expressing sacrifice. The four apostles occupy the center of the middle register, and are shown in a frontal, columnar pose, wearing geometrically squared robes to convey strength and support. This is in contrast to the Four Evangelists and eight remaining apostles, who assuredly disseminate the gospel, in some cases holding bibles or manuscripts. Vividly portrayed, there are scenes of mortal man in the bottom register; life’s challenges and divine intervention. There is a scenes of Saint Joseph clutching his face, labeled as “Joseph” in the painting; a younger man reclined with a hand out (his lower half is missing due to deterioration); a calf’s head; a scroll; and an angel assisting a couple. The angel has a facial expression and head tilt signifying purpose, as he is about to perform a significant and imminent act of redemption. Complementing the register position is hierarchy of scale in each figure’s proportion in relation to other human forms. As the central figure, Christ is approximately two times larger than the Four Evangelists are, which are approximately three times larger than the apostles are. Their elongated tubular pose and large halos accentuate their size in comparison to the mortals, angels and Saints in the bottom register. Venturing towards the nape of the church toward the apse, the dramatic color and patterns of the fresco would immediately catch the viewer’s eye. The unknown artist achieves this effect with an opulent gold background rich in red and yellow tones with expressive geometric patterns on the ground line supporting Christ and the oval border surrounding Christ. The ground line consists of an “h” shaped geometric pattern of blue, gold and red. The inconsistent application of red and yellow colors on the “h” pattern renders the dramatic effect of an open flame, which accentuates the black background. The almond-shaped mandorla surrounding Christ is multi-colored and outlined by a large black ripple pattern. As the black ripples grow larger in the middle of the border, they amplify Christ’s presence as the central figure. The ripple shaped mandorla brilliantly transitions Christ’s power and presence to the Four Evangelist’s and includes the Four Evangelists with Christ as central figures. Situated or standing before the alter of the church of Santa Maria del Mur, the apostles would be in the viewer’s direct line of sight. The mandorla and wings of Mark the lion and Luke the calf transition the viewer’s eye up to the center of the top register. As the colossal image of Christ floods the field of vision, the impact is awe-inspiring. The blue robe, earnest expression and immense right hand, which bless the faithful, express power and significant consequence, which dominates the iconic mural. Mark and Luke appear to anticipate instruction from Christ, as Matthew appears nervous and cautionary and John is somber, representing the extraordinary responsibility each has in delivering Christ’s message. The large, deep majestic blue robe has dark folds that accentuate the blue color. The robe appears raised off Christ’s left arm, producing a voluminous, divine effect. Christ’s large wide eyes, muted lips and frontal center pose express piousness, amplifying the power of his hand gesture. The hand gesture signifies rank and precedence in contrast to the head tilt and pose of the Four Evangelists and apostles, who obey and communicate Christ’s message to the devout. The twelve stars to the left and right of Christ carry symbolic meaning as the twelve apostles, who enlighten and guide humanity and the gold cross inside Christ’s halo signifies his divinity. Further details found in the fresco provide insight into the powerful symbolism of the piece. The width of the borders separating the registers clearly denotes the power and strength of the figures in the top and middle registers in contrast to the less meaningful figures located in the bottom register. Details on Mark and Luke’s hind legs and Matthew and John’s wings are similar to the fine details found on Christ’s robe and therefore associate them with Christ. The top register housed seven lamps representing the seven Christian communities where John addressed his revelation (the Apocalypse). From the still visible lamp hanger in Mark’s quadrant, one lamp is missing due to deterioration. Of all religious or Christian narratives, the most significant in “Christ in Majesty with Symbols of the Four Evangelists”, is redemption through the power and majesty of Christ. The piece houses abstract figures floating in a glorious gold background among scenes of enlightenment, sacrifice and redemption. The painting convincingly conveys Christ as an iconic divinity leading the devout to paradise. The unknown Romanesque artist used Byzantine techniques, consisting of vivid colors and geometric shapes in conjunction with ideally proportioned and positioned figures to successfully convey the narrative.