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Hi everyone. Today's class is about the Romanesque art.

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In this presentation about the Romanesque period, we are going to talk about the origins, the architecture, the sculpture, and the painting.

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Well, the first thing you must know is that the Romanesque is a new style of art, called so because it is the reminiscence of the Roman art.

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So Romanesque means like the Romans, or Roman-like, but remember, it has no relation to the Roman art.

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Now, this is important. Now, Romanesque art aimed to spread the religion, okay, and bring people closer to God.

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So it's going to, the main aim is going to be religion always, Christianity actually.

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Now, the most representative buildings were churches, okay.

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Also the cathedral, normally in cities, and monasteries, normally in the countryside, okay.

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Well, this style, the Romanesque style is encompassed in the 11, between the 11th and the 12th centuries.

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Well, from the 11th century, a new style of art spread throughout the Western Europe, okay.

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Thanks to the pilgrim routes, like the Camino de Santiago.

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Well, feudalism, which we have studied previously, provides a military and economic security throughout these pilgrim routes.

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Another important thing we have studied, the church had very strong influence, and its authoritarian rule extended into every aspect of community life.

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Now, during this period, the church remained the predominant influence in Western Europe, so church became even stronger.

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Well, in this map, you can see all the territory where the Romanesque spread.

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As you can see, it's the Western part of Europe.

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Well, most of Western Europe, because there are some places, like the south of the Iberian Peninsula, where Al-Andalus got this territory.

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So this Christian style didn't reach this part of the Iberian Peninsula.

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Anyway, the rest of Europe was influenced by this new style.

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Well, the beginning of this style was right here, actually in Cluny.

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And it had a lot of relation with this new style coming from the north of Italy.

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Now, let's talk about the basic things about the Romanesque style.

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Now, they used cymbals, okay?

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It's full of cymbals.

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They were very important.

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Everything had a message.

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Everything has a message.

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Every cymbal, everything in a Romanesque style means something.

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From the shape of the buildings to the materials and motifs used.

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The artists were mostly anonymous.

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They were not important.

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The important thing was their work.

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Now, once they had finished the work in a place, they usually moved to another place.

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Sculpture and painting were used to convey spirituality, always focusing on religion.

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Now, in architecture, most of the representative buildings were, as I told you before, churches, cathedrals and monasteries.

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They were made of stone most of the times.

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At first, they had flat and wooden roofs, but fires were frequent, so stone was safer.

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So, they began to change the wooden roofs and wood by stone.

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Well, right here we have some examples of these cymbals.

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We can see many times these types of cymbals of Christianity, the Alpha and the Omega.

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It's like everything, the beginning and the end.

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Now, the angel announcing the final judgment.

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There is always a meaning in this sculpture and these types of representations.

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Always there is a meaning.

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Right here we can see the sins and the lust.

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But let's talk about architecture first.

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Now, the main element of the Romanesque architecture is that they use heavy proportions.

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That means thick walls and compact structure.

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Now, the barrel vault, remember, bóveda de cañón, important.

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Rounded arch, arco de medio punto.

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And also, they are going to use a lot of big columns and pillars.

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Well, they use sculpture with architecture always.

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They normally don't use the sculpture just alone.

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They always use a sculpture in the buildings.

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Now, another important element is the buttress, contrafuertes.

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The apse, el apside, the ambulatory, girola or ambulatorio.

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They are not going to use it in every church or cathedral.

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They are going to use it normally in the pilgrim area.

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Where the Camino de Santiago and places like that.

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Now, I'm going to show you some images in the next slides.

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Well, buildings have few and usually very small windows.

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So they let little light inside.

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The buildings are very dark inside.

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The tower becomes integral part of the church.

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Well, right here you have an image about the most important elements of Romanesque church.

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Well, to these spaces right here, we call them naves.

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In Spanish, we say naves.

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Normally, we have from one or three or five naves church.

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Like this one.

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For example, we have three naves.

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We have one big one in the middle.

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Another one right here.

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And another one right here.

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This would be one.

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A big one here.

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And a big one here.

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So the naves are these spaces inside of the church.

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Well, now, normally, there were one or two towers near the main entrance.

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So there is one tower here.

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And there is another tower here.

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Well, the batres or contrafuertes, we can see them right here or right there.

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As the walls were very thick, they need a batres to avoid they fall down.

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Now, barrel vault.

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Bóveda de cañón.

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Well, a barrel vault is just a rounded arch like the one we have right here.

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And it's decontinuous.

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This would be a barrel vault.

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Now, the place where two arms of the church crosses is called the crossing, el crucero.

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We have this arm, this short arm, and we have this long arm.

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So as you can see, the image from the top, it's a Christian cross.

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And right here, just in the middle, we have the crossing, el crucero.

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And normally, normally, there is a tower.

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So if we see the church from the top, it would be something like this.

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And right here, we would have the apse, which is rounded.

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Right here, we have the crossing.

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Sometimes, we have some other apse right here and right here and sometimes right here.

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Sometimes, there was an ambulatory so that the pilgrims could walk around the main altar and view the relics right there.

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In this image, we can see all these elements of the Romanesque cathedral or Romanesque church.

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Naves laterales, esta sería la nave central.

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El transepto, que es el brazo corto o la nave perpendicular corta, este sería el crucero.

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La girola, o ambulatorio, que es todo esto de aquí.

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Están dando misa, viene el peregrino, viene el peregrino por aquí, hace así, y el ambulatorio, viene por aquí y ya se va.

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Tenemos los ábsiles, que es todo esto, y estos son los absidiolos, que son pequeños ábsiles.

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Ahora es el momento de ver algunos ejemplos de este estilo romanesco.

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Cuando hablamos de las proporciones pesadas, es decir, las paredes gruesas y la estructura compacta, estamos hablando de estos ejemplos aquí.

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As you can see, the walls are very thick, we can see how thick is this wall.

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Normally, they have from one to two meters or even more.

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That's why they were very heavy and they were not so tall as the Gothic is going to be.

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They are not so tall.

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Well, very compact structure, normally they are very wide and they are not very tall.

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Well, another important thing is that the windows are very small, as you can see, there are almost no windows.

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Why?

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It's very easy, because the walls are very thick and they are too heavy.

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Now, for example, as we have a door right here, and this would be very heavy, all this part, that's why they have opened a window.

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Because if they don't open a window, this is going to be very heavy because of this vein, because of this big door.

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And this is going to fall, and this is the reason why they opened this window.

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Remember this to compare it with the Gothic.

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Well, right here you have an example of barred vault, it's what I explained just before.

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Actually, this is quite simple, this is just a round arch and it's making a nave from a continuous round arch.

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In Spanish we call this arch fajones, arcos fajones.

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Well, the round arch is just, in Spanish we call it arco de medio punto.

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This is so easy, like this, ok?

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This is half circle, half circle.

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Well, and it can be decorated in several ways, ok?

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As you can see right here with a double column.

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Now, as I told you before, they normally don't create a sculpture just to be alone.

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They use the sculpture with architecture.

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So, all the sculptures we are going to see in the Romanesque are normally in the buildings, as we can see right here.

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Well, this is the batters I told you before.

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As the walls are very thick, they need to create these batters, these contrafuertes, to avoid the wall falls.

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Well, I told you about the apse before, los apsides, ok?

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They can be more than one.

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And then we have the lateral one of the apsidiolos, the small apse.

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It depends on the different style in the Romanesque, we have different types.

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Well, as I told you before, this is the ambulatory, ok?

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This is the ambulatory.

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Well, as I told you before, this is the ambulatory, ok?

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Where the pilgrims could walk around while people is listening to the priest.

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Well, another thing I told you before, they use small windows and you already know the reason.

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The walls are very thick and they cannot open big windows because the building would fall easily.

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Very important and very characteristic, the bell towers.

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Normally, we have bell towers right here at the front of the building.

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Normally, we always have it.

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And we have also just in the crossing, ok?

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There are many particularities in the different Romanesque styles.

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There are many particularities in the different Romanesque styles.

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For example, we have an example of the Romanesque of the Pyrenees.

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And also in Italy, they have the bell towers out of the main building.

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Now, as I told you before, they use the Latin cross plant, ok?

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So they have this shape normally.

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There are some using Greek cross plant, which is just like the red cross, ok?

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Just like here.

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And they also use, it's not very common, except in Italy, the Basilica style.

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The Basilica style is just like a nave with an apse, ok?

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Just this.

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The plant churches were usually cruciform, like the one I told you before.

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To recall the cross on which Jesus died.

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This is, we call it the Latin cross, ok?

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This one.

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Now, the long arm of the cross was made up of one or more naves.

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You already know what is a nave, ok?

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And it's finishing in an apse.

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The shorter arm is called transept.

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Remember this word, transept.

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And they also, sometimes, they also finish in apse.

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It depends.

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Well, right here you have some examples of different type of plants.

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Las plantas.

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This would be Latin, ok?

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This would be Latin.

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This is the transept, ok?

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The main nave.

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The lateral naves, ok?

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The ambulatory.

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The apse.

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The small apse.

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Now, we have the Greek plant, right here.

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They are not very common.

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And the basilica, the basilica plant, which are common just in Italy.

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Well, the Latin cross from the top, as you can see.

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If we have a, we make a photo from a drone or a plane, we see the plants right here.

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We see right here the main nave, the apse, ok?

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And the lateral naves and the transept.

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And right here we can also see, ok, the crossing.

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There is a tower.

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The different apse.

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See, we can see the different type of apse.

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Ok, the main one and the lateral and the small ones.

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Now, the most, one of the most characteristic elements of this Romanesque architecture is the barrel vault, as I told you before.

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As you can see these round arches, ok?

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And this is like the main nave.

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Well now, time to talk about sculpture.

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Now, as I have already told you, it's used in conjunction with architecture, ok?

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Normally are in the portals, in the portals, like the main entrance of the buildings.

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They are made in the archibalds and the tympanums.

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One of the main characteristics of the elongated bodies, unreal and inorganic elements, spiritual and flat.

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And almost always frontal positions.

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We are going to see some examples right now.

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Like this one.

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As you can see, we have a frontal position, we have some of these unrealistic elements.

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You can see the size of the hands, ok?

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If we compare it with the rest of the body.

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We can see the feet, which are very, very big compared with the rest of the body.

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And they have this duck form, very characteristic.

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Well, right here, they show us the sacred book.

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And this hand is like blessing the people.

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Well, this would be a church portal.

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This is the main entrance.

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Alright, this is the main entrance.

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And we have the jump pedestal, the colonnade, the jump column, the jump figure.

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The tympanum, which is right here, where the main images are.

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The bourgeois, the archibalds and the sprandle.

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These elements are always talking about an episode of the Bible.

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Normally, right here, we have Jesus Christ or the most important persons of Christianity.

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And right here, normally, they are representing the saints and some other situations in the Bible.

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Right here, we have another example, a real one.

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When the door is really big, they create a column and it's called parteluz.

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Right here, we would have a door and right here, we would have another door.

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This would be the dintel, el dintel.

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The tympanum.

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Here we see Jesus, much bigger than the other characters.

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Here we have other characters, also much smaller.

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We always go from more importance to less importance.

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And here are the archibalds.

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As you can see, everything is filled with some kind of sculpture.

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Even if they are different geometric decorative elements, as we have, for example, in this area here.

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This is called horroris vacui, horror of the void.

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Well, right here, we have another example of this door, which would be something like this.

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Here we have another example.

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As you can see, the door is horroris vacui.

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Again, everything is full.

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The rest of the facade does not have to have much decoration, but the facade is very decorated with different elements.

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And then you will see that the most important elements, normally Jesus, the apostles,

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are always larger in size than the rest of the characters.

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One of the curious things, which is why it is called Romanesque,

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and has to do with, or is based on, or has influence on Roman art,

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is that, for example, this image, I don't know if it reminds you of that Romanesque architecture,

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which is the triumphal arch.

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Imagine trying to avoid the rest of the facade.

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This is similar to a triumphal arch.

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Well, now, let's keep talking about this culture.

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Now, in the Middle Ages, the art had an educational and religious function.

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Most of the people could not read and write.

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So, images taught them about the Christianity or the Christian religion.

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The size and the shape of Romanesque sculpture were adapted to fit into the spaces available.

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So, they changed the size depending on the architecture.

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Now, human figures were unrealistic, remember this, they are unrealistic.

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Well, today, we cannot see them today.

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But the sculptures were painted with bright colors.

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Today, most of these colors have disappeared.

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Now, the facades and of the churches, especially the tympanums,

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were decorated with subjects such as Christ in glory

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and the Last Judgment.

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Well, right here, we have some more examples.

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As you can see, sculptures fit on the space they have.

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So, it's related, totally related with the architecture.

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As we can see, this would be Jesus.

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And this would be the apostles.

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And some saints, normally, some saints or important people of the church.

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Well, the capitals and the cloisters were decorated with animals, plants,

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biblical stories, and everyday scenes.

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Now, there were wooden carvings, usually on the altars.

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They used wood.

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Now, two main themes were shown, normally.

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The Virgin and the Child, and Christ on the cross.

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These are the two main subjects of Romanesque.

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Well, here you have examples of capitals, of the sculpture that is very detailed.

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On the other hand, it lacks the representation of the feeling,

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therefore, it is not naturalistic.

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It is very unnaturalistic.

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Here would be the representation of Adam and Eve.

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Here you see, for example, the size of the heads, how big they are.

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They are very hieratic, which means that there is very little movement.

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Look at the almond-shaped eyes, typical of Romanesque.

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You see that there is no representation of feeling.

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I don't know, I got a ...

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There is no representation of feeling, or happiness, or anything.

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The cloisters were full of motifs of this type.

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Each capital is the representation of a biblical passage.

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We have this whole part here, and the whole part above.

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These are the monasteries' cloisters.

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Well, here we have an example of Romanesque painting.

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We see that this is a fresco painting.

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The main things we have to see here are the absence of perspective.

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There is no background.

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They are monochromatic backgrounds of a single color.

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There are no landscapes, there are no places.

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It is simply a background of a color, normally of a living color.

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Or sometimes they are strange architectures.

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There is an absence of lighting.

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There are no lighter areas than others.

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They are flat colors.

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The perspective is hierarchical.

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Hierarchical means that it is represented, just as we do in architecture,

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it is represented to the most important, greatest characters.

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It is the law of respect.

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Not only in the figures, but also in the different themes.

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Each space is a theme.

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This would be the mystical almond tree.

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The outline of the figures is always delimited by thick and dark strokes.

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You see that if we look closely, all the figures have a black line.

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Definition of shapes through uniform color zones without gradation.

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They are colors or there is no game with the scale of colors.

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They are flat colors.

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Another important thing is the absence of movement.

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We see that hieratism, that is, static figures, are the ones that govern the paintings.

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That is why we speak of hieratism and rigidity, solemnity.

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Just as it happened with sculpture and architecture,

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painting will adapt to space and the architectural framework.

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And it will also give that vacuum horror that we talked about earlier,

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just as it happened in sculpture.

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Geometrization and symmetry will be taken care of.

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That is, if we draw a line, we will have symmetry.

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Although we see that each arm has a shape, we see that there are symmetrical elements.

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If we look, for example, at the face, we see that symmetry.

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One part is equal to the other.

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And the colors, which are varied, intense, but there are no degrees of color.

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Another thing that is very common are the V-shaped feet that I mentioned before,

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which are in the shape of a duck, and the superposition of the heads.

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It is also important to say that, if you look at the figures,

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they do not represent happiness or sadness, nor do they try not to have feelings.

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Well, the most important paintings were inside the churches.

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Human figures were rigid and schematic.

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Some were painted much bigger than the rest, because of the importance of this figure.

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Now, the bright colors were used.

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Figures were outlined in black, as I told you before.

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And the eyes and hands were emphasized.

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That means that they were bigger than the rest of the body.

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That's why these paintings were unrealistic.

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Now, there were no background landscapes important to compare with the Gothic.

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Here you have an example of Romanesque painting,

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which is the Pantocrator of the Apse of St. Clement of Toul, here in the peninsula.

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We have a thick line drawing.

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The colors are flat, that is, there is no color degradation.

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There is a lack of depth and light.

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It is simply a flat color behind.

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There is a hierarchization of figures.

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Here we only see the figure of Jesus, but on the rest of the sides there are smaller figures.

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They are geometric columns.

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If we see the complete figure, we see a certain geometry.

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There is a juxtaposed composition that is superimposed.

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There is a clear absence of movement, that is, a hieratism that gives solemnity.

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And it is devoid of detail to reflect the essential.

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And this is the key.

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They want to reflect the essential.

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They are symbols.

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Well, schematic conventionalism.

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Feet in V.

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Here we have it, although it is not seen.

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Symmetrical folds.

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We see the different folds that the tunics have, for example, here.

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Head superimposition.

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In this case we do not see it, but if we saw it in full it would be seen.

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Depth.

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Sorry.

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There is no depth.

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Plasma of a certain movement through the repetition of gestures in several figures.

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We can't see it in this one either, but if we saw it in full, we can see it.

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Well, this is another example of Romanesque painting, but in this case it would be a manuscript.

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That is, painting in a book.

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But the same idea.

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We see, for example, in the Romanesque, the child is not a child.

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If you look at it, it is a Lord.

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It is God.

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And he is in a position of blessing.

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There is no communication between mother and son.

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In this case it would be the adoration of the Magi.

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The main themes were Christ in glory and the Virgin and Child.

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But they also used panel paintings, used in the altars, using small altarpieces, using wood.

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The lives of saints and marches were also shown.

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And the miniatures, these paintings to decorate manuscripts or books are also used.

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Right here you have some examples of this fresco painting.

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This is the apse of two churches.

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This is the previous one.

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As you can see, we can see right here all these characteristics we have been talking about.

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And here the same.

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This is a manuscript again.

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Now, check the feet.

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Check the heads.

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Always like this.

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If we draw a line, we see some symmetry between this part and the other one.

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See the feet.

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Always blessing position and the Bible.

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Well, it's quite easy to understand the Romanesque style in painting.

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Well, right here you have some other examples.

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As you can see, more or less, it's always the same.

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And some manuscripts about different stories.

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This is just the Vikings' invasions.

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And some other manuscripts, which are always with the same idea.

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And that's all.

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This is over.

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I hope you like it.