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CMA: Medieval Art

@cmamedieval.bsky.social

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Sharing public domain works from the Medieval Art department of the Cleveland Museum of Art. Automated thanks to @andreitr.bsky.social and @botfrens.bsky.social

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CMA: Medieval Art @cmamedieval.bsky.social · 6m

Five Guineas (reverse) https://clevelandart.org/art/1969.202.b

Five Guineas (reverse)

CMA: Medieval Art @cmamedieval.bsky.social · 1h

The Gotha Missal: Fol. 9v, Text https://clevelandart.org/art/1962.287.9.b

This elegant Latin manuscript is known today as The Gotha Missal after its eighteenth-century owners, the German Dukes of Gotha. The volume was originally copied and illuminated in Paris around 1375 -- a commission of the Valois king, Charles V "the Wise" (1364-1380), one of the great bibliophiles of the fifteenth century and brother of Dukes Philip the Bold of Burgundy and Jean de Berry. Manuscript missals were not intended for the lay user, but rather for the use of the celebrant at Mass. The present volume was therefore meant to be used by the king's private chaplain and was probably housed in Charles's private chapel, possibly in his principle residence, the Palace of the Louvre (demolished in the sixteenth century). The main decorative body of the missal consists of two full-page miniatures comprising the Canon of the Mass and twenty-three small miniatures. The style and high quality of the decoration points to its inclusion withing a select group of manuscripts accepted today as from the hand of Jean Bondol. Bondol was active at the court of Charles V from 1368 until 1381 where he headed the court workshop and also served as the king's valet de chambre. The blind-tooled leather binding dates to the fifteenth century.

Reposted by CMA: Medieval Art

CMA: Photography @cmaphotography.bsky.social · 13d

Fountain of Notre Dame at Saint-Brieuc, Brittany https://clevelandart.org/art/2008.114

Fountain of Notre Dame at Saint-Brieuc, Brittany

CMA: Medieval Art @cmamedieval.bsky.social · 5h

The Gotha Missal: Fol. 90r, Text https://clevelandart.org/art/1962.287.90.a

This elegant Latin manuscript is known today as The Gotha Missal after its eighteenth-century owners, the German Dukes of Gotha. The volume was originally copied and illuminated in Paris around 1375 -- a commission of the Valois king, Charles V "the Wise" (1364-1380), one of the great bibliophiles of the fifteenth century and brother of Dukes Philip the Bold of Burgundy and Jean de Berry. Manuscript missals were not intended for the lay user, but rather for the use of the celebrant at Mass. The present volume was therefore meant to be used by the king's private chaplain and was probably housed in Charles's private chapel, possibly in his principle residence, the Palace of the Louvre (demolished in the sixteenth century). The main decorative body of the missal consists of two full-page miniatures comprising the Canon of the Mass and twenty-three small miniatures. The style and high quality of the decoration points to its inclusion withing a select group of manuscripts accepted today as from the hand of Jean Bondol. Bondol was active at the court of Charles V from 1368 until 1381 where he headed the court workshop and also served as the king's valet de chambre. The blind-tooled leather binding dates to the fifteenth century.

Reposted by CMA: Medieval Art

Pablo Picasso @pablopicasso.bsky.social · 13d

Variant of Three Bathers (1st supplementary suite, plate 11) from the illustrated book La Chèvre-Feuille
https://botfrens.com/collections/111/contents/1142037

The Louis E. Stern Collection

CMA: Medieval Art @cmamedieval.bsky.social · 8h

Hours of Queen Isabella the Catholic, Queen of Spain: Fol. 79r https://clevelandart.org/art/1963.256.79.a

This manuscript was illuminated by a circle of at least five highly organized manuscript painters active in the Flemish cities of Ghent and Bruges. The principal illuminator was Alexander Bening, who painted the majority of the book's miniatures. Manuscripts produced by this circle of artists are renowned for the decoration of their borders, which typically feature a rich variety of realistically-painted flowers, birds, and butterflies. This prayer book, called a book of hours, was intended not for a cleric, but for the private devotions of a lay person-in this case, Isabella the Catholic, Queen of Spain (1451-1504). Isabella's coat of arms embellishes the book's frontispiece. It is unlikely that the book was commissioned by the Queen herself; rather, she probably received it as a diplomatic gift from someone courting her patronage, perhaps Cardinal Francisco Jimenez de Cisneros. A Franciscan friar, Jimenez was dependent upon Isabella for his advancement, first to the post of Queen's confessor in 1492, and then to Archbishop of Toledo in 1495.

CMA: Medieval Art @cmamedieval.bsky.social · 21h

Sword https://clevelandart.org/art/1916.1715

Sword

CMA: Medieval Art @cmamedieval.bsky.social · 1d

The Gotha Missal: Fol. 51r, Text https://clevelandart.org/art/1962.287.51.a

This elegant Latin manuscript is known today as The Gotha Missal after its eighteenth-century owners, the German Dukes of Gotha. The volume was originally copied and illuminated in Paris around 1375 -- a commission of the Valois king, Charles V "the Wise" (1364-1380), one of the great bibliophiles of the fifteenth century and brother of Dukes Philip the Bold of Burgundy and Jean de Berry. Manuscript missals were not intended for the lay user, but rather for the use of the celebrant at Mass. The present volume was therefore meant to be used by the king's private chaplain and was probably housed in Charles's private chapel, possibly in his principle residence, the Palace of the Louvre (demolished in the sixteenth century). The main decorative body of the missal consists of two full-page miniatures comprising the Canon of the Mass and twenty-three small miniatures. The style and high quality of the decoration points to its inclusion withing a select group of manuscripts accepted today as from the hand of Jean Bondol. Bondol was active at the court of Charles V from 1368 until 1381 where he headed the court workshop and also served as the king's valet de chambre. The blind-tooled leather binding dates to the fifteenth century.

Reposted by CMA: Medieval Art

Henri Matisse @henrimatisse.bsky.social · 14d

Study after Dance (I), (c. 1909)
https://botfrens.com/collections/48/contents/1143654

Gift of Pierre Matisse

CMA: Medieval Art @cmamedieval.bsky.social · 1d

Hours of Queen Isabella the Catholic, Queen of Spain: Fol. 205v https://clevelandart.org/art/1963.256.205.b

This manuscript was illuminated by a circle of at least five highly organized manuscript painters active in the Flemish cities of Ghent and Bruges. The principal illuminator was Alexander Bening, who painted the majority of the book's miniatures. Manuscripts produced by this circle of artists are renowned for the decoration of their borders, which typically feature a rich variety of realistically-painted flowers, birds, and butterflies. This prayer book, called a book of hours, was intended not for a cleric, but for the private devotions of a lay person-in this case, Isabella the Catholic, Queen of Spain (1451-1504). Isabella's coat of arms embellishes the book's frontispiece. It is unlikely that the book was commissioned by the Queen herself; rather, she probably received it as a diplomatic gift from someone courting her patronage, perhaps Cardinal Francisco Jimenez de Cisneros. A Franciscan friar, Jimenez was dependent upon Isabella for his advancement, first to the post of Queen's confessor in 1492, and then to Archbishop of Toledo in 1495.

Reposted by CMA: Medieval Art

CMA: Islamic Art @cmaislamic.bsky.social · 15d

Mortar https://clevelandart.org/art/1992.190

Mortar

CMA: Medieval Art @cmamedieval.bsky.social · 1d

Hours of Queen Isabella the Catholic, Queen of Spain: Fol. 105v https://clevelandart.org/art/1963.256.105.b

This manuscript was illuminated by a circle of at least five highly organized manuscript painters active in the Flemish cities of Ghent and Bruges. The principal illuminator was Alexander Bening, who painted the majority of the book's miniatures. Manuscripts produced by this circle of artists are renowned for the decoration of their borders, which typically feature a rich variety of realistically-painted flowers, birds, and butterflies.
This prayer book, called a book of hours, was intended not for a cleric, but for the private devotions of a lay person-in this case, Isabella the Catholic, Queen of Spain (1451-1504). Isabella's coat of arms embellishes the book's frontispiece. It is unlikely that the book was commissioned by the Queen herself; rather, she probably received it as a diplomatic gift from someone courting her patronage, perhaps Cardinal Francisco Jimenez de Cisneros. A Franciscan friar, Jimenez was dependent upon Isabella for his advancement, first to the post of Queen's confessor in 1492, and then to Archbishop of Toledo in 1495.

CMA: Medieval Art @cmamedieval.bsky.social · 1d

Hours of Charles the Noble, King of Navarre (1361-1425), fol. 303r, The Virgin Martyrs https://clevelandart.org/art/1964.40.304.a

This precious volume was obviously highly prized by its owner, the French-born King of Navarre, who had his coat of arms painted on no less than twenty folios. Rather than directly commissioning this manuscript from a specific workshop, it seems that Charles the Noble acquired his book of hours -- perhaps ready-made for the luxury market -- while on a trip to Paris in 1404-05.

A collaborative effort, six painting styles are evidenced within the pages of this codex, those of two Italians, two Frenchmen, and two Netherlanders. The painter who was responsible for the planning and decoration of the book, and who produced seventeen of the large miniatures, was a Bolognese artist known as the Master of the Brussels Initials. His principal assistant, responsible for most of the borders, was a Florentine who signed his name "Zecho" da Firenze on folio 208 verso.

Reposted by CMA: Medieval Art

CMA: European Painting and Sculpture @cmaeuropeanpaint.bsky.social · 15d

Overdoor Painting https://clevelandart.org/art/1944.466.2

Overdoor Painting

CMA: Medieval Art @cmamedieval.bsky.social · 1d

The Gotha Missal: Fol. 50v, Text https://clevelandart.org/art/1962.287.50.b

This elegant Latin manuscript is known today as The Gotha Missal after its eighteenth-century owners, the German Dukes of Gotha. The volume was originally copied and illuminated in Paris around 1375 -- a commission of the Valois king, Charles V "the Wise" (1364-1380), one of the great bibliophiles of the fifteenth century and brother of Dukes Philip the Bold of Burgundy and Jean de Berry. Manuscript missals were not intended for the lay user, but rather for the use of the celebrant at Mass. The present volume was therefore meant to be used by the king's private chaplain and was probably housed in Charles's private chapel, possibly in his principle residence, the Palace of the Louvre (demolished in the sixteenth century). The main decorative body of the missal consists of two full-page miniatures comprising the Canon of the Mass and twenty-three small miniatures. The style and high quality of the decoration points to its inclusion withing a select group of manuscripts accepted today as from the hand of Jean Bondol. Bondol was active at the court of Charles V from 1368 until 1381 where he headed the court workshop and also served as the king's valet de chambre. The blind-tooled leather binding dates to the fifteenth century.

CMA: Medieval Art @cmamedieval.bsky.social · 2d

Book of Hours (Use of Rouen): fol. 152v https://clevelandart.org/art/1952.227.152.b

Book of Hours (Use of Rouen): fol. 152v

CMA: Medieval Art @cmamedieval.bsky.social · 2d

Leaf from a Psalter and Prayerbook: Ornamental Border with Flowers and Squirrel (verso) https://clevelandart.org/art/2006.15.b

These three leaves represent the charming, intricate decoration found throughout the parent volume, its leaves now dispersed. Virtually every border, recto and verso, was decorated with liquid gold and highlighted with a variety of flowers, fruits, and vegetables—carnations, thistles, roses, violets, peas, melons—as well as cornucopias, satyrs, masks, insects, birds, etc. The decoration is particularly charming because of the little vignettes within the borders. These motifs depict a girl kneading bread, a cook ladling soup, a goose nibbling grapes off a vine, and a satyr with a horn. Such details would have been a sumptuous delight to the original owner. This was a highly personalized volume, apparently written and illuminated in North Germany. The prominent mention of Saint Godehard (died 1038), Bishop of Hildesheim, in the original manuscript suggests that it was produced in that city.

CMA: Medieval Art @cmamedieval.bsky.social · 2d

Fol. 230r, Psalm 97, historiated initial C, two clerics singing at a lectern.
https://clevelandart.org/art/2008.2.230.a

Biblical manuscripts were highly prized and important possessions of churches, monasteries, cathedral schools, and universities throughout medieval Europe. The biblical texts were known as the vulgate, the translations made by Saint Jerome in the fourth century from Hebrew and Greek into Latin, which became the definitive and official Latin version of the Roman Church. In the 13th century, the bible was, for the first time, produced as a single volume with an officially sanctioned sequence to its books and chapters as illustrated by this example. The very extensive decoration of this bible is arranged hierarchically to indicate the relative importance of the various texts so that full or almost full-page initials mark the openings of the first prologue, Genesis, and the first Gospel; historiated initials mark the beginning of each book and illuminated initials mark the Prologues.

CMA: Medieval Art @cmamedieval.bsky.social · 2d

The Gotha Missal: Fol. 27v, Text https://clevelandart.org/art/1962.287.27.b

This elegant Latin manuscript is known today as the Gotha Missal after its eighteenth-century owners, the German Dukes of Gotha. The volume was originally copied and illuminated in Paris around 1375—a commission of the Valois king, Charles V "the Wise" (reigned 1364–80), one of the great bibliophiles of the 1400s and brother of Dukes Philip the Bold of Burgundy and Jean de Berry. Manuscript missals were not intended for the lay user; the present volume was used by the king's private chaplain and was probably housed in Charles's private chapel, possibly in his principle residence, the Palace of the Louvre (demolished in the 1500s). The main decorative body of the missal consists of two full-page miniatures comprising the Canon of the Mass and 23 small miniatures. The style and high quality of the decoration points to its inclusion within a select group of manuscripts accepted today by the hand of Jean Bondol. Bondol was active at the court of Charles V from 1368 until 1381, where he was head of the court workshop and also served as the king's valet de chambre. The blind-tooled leather binding dates to the 1400s.

Reposted by CMA: Medieval Art

Mark Rothko @markrothko.bsky.social · 16d

Untitled
https://botfrens.com/collections/25/contents/1211869

Gift of the Mark Rothko Foundation

CMA: Medieval Art @cmamedieval.bsky.social · 2d

Seal of Doge Michele Steno https://clevelandart.org/art/1985.198

This opulent seal, an example of the splendor surrounding the ruler of Venice, was once attached to a charter issued in1409. Seals were molded or embossed and attached to official documents as evidence of authenticity. This example is thought to be one of the finest Venetian seals to be preserved.

Reposted by CMA: Medieval Art

Henri Matisse @henrimatisse.bsky.social · 16d

Woman with a Hat, 1905
https://botfrens.com/collections/48/contents/15491

Woman with a Hat

CMA: Medieval Art @cmamedieval.bsky.social · 3d

Addedomaros Stater (reverse) https://clevelandart.org/art/1969.147.b

Addedomaros Stater (reverse)

CMA: Medieval Art @cmamedieval.bsky.social · 3d

Nomisma with John I Zimisces (reverse) https://clevelandart.org/art/1968.61.b

Byzantine Gold Coins

The vast number of surviving Byzantine coins attests to the level of trade across the empire. Controlled and supervised by the emperor, the producers of coins took care to represent his authority and reflect his stature. Talented artists were recruited to engrave the dies (molds) used for the striking of coins. Emperors increasingly came to include their heirs and co-emperors on their coinage, as well as other family members or even earlier rulers. Coins were recognized, then as now, as small, portable works of art. With their inscriptions and images, Byzantine coins provide valuable documentation of historical events and a record of the physical appearance of the emperors. The coins shown here include the solidus, the basic gold coin of 24 karats; the tremissis, a gold coin of one-third the weight and value of the solidus; and the nomisma, which in the 10th century replaced the solidus as the standard gold coin.

CMA: Medieval Art @cmamedieval.bsky.social · 3d

Hours of Queen Isabella the Catholic, Queen of Spain: Fol. 83v https://clevelandart.org/art/1963.256.83.b

This manuscript was illuminated by a circle of at least five highly organized manuscript painters active in the Flemish cities of Ghent and Bruges. The principal illuminator was Alexander Bening, who painted the majority of the book's miniatures. Manuscripts produced by this circle of artists are renowned for the decoration of their borders, which typically feature a rich variety of realistically-painted flowers, birds, and butterflies. This prayer book, called a book of hours, was intended not for a cleric, but for the private devotions of a lay person-in this case, Isabella the Catholic, Queen of Spain (1451-1504). Isabella's coat of arms embellishes the book's frontispiece. It is unlikely that the book was commissioned by the Queen herself; rather, she probably received it as a diplomatic gift from someone courting her patronage, perhaps Cardinal Francisco Jimenez de Cisneros. A Franciscan friar, Jimenez was dependent upon Isabella for his advancement, first to the post of Queen's confessor in 1492, and then to Archbishop of Toledo in 1495.