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The Dark Ages: An Age of Light is a four-part documentary television series written, directed, and presented by the British art critic Waldemar Januszczak looking at the art and architecture of the so-called Dark Ages (i.e. Early Middle Ages) that shows it to be
The Dark Ages is a term for the Early Middle Ages (c. 5th –10th centuries), or occasionally the entire Middle Ages (c. 5th –15th centuries), in Western Europe after the fall of the Western Roman Empire, which characterises it as marked by economic, intellectual, and cultural decline.
Art in the Middle Ages is a broad subject and art historians traditionally divide it in several large-scale phases, styles or periods. The period of the Middle Ages neither begins nor ends neatly at any particular date, nor at the same time in all regions, and the same is true for the major phases of art within the period. [10]
The Greek Dark Ages (c. 1200–800 BC) were earlier regarded as two continuous periods of Greek history: the Postpalatial Bronze Age (c. 1200–1050 BC) [1] and the Prehistoric Iron Age or Early Iron Age (c. 1050–800 BC), the last included all the ceramic phases from the Protogeometric to the Middle Geometric [1] and lasted until the beginning of the Protohistoric Iron Age around 800 BC.
The Early Middle Ages (or early medieval period), sometimes controversially referred to as the Dark Ages, is typically regarded by historians as lasting from the late 5th to the 10th century. [ note 1 ] They marked the start of the Middle Ages of European history , following the decline of the Western Roman Empire , and preceding the High ...
During the Greek Dark Age, spanning the 11th to 8th centuries BC, the prevalent early style was that of the protogeometric art, predominantly using circular and wavy decorative patterns. This was succeeded in mainland Greece, the Aegean, Anatolia, and Italy by the style of pottery known as geometric art, which employed neat rows of geometric ...
The art of the Middle Ages was mainly religious, reflecting the relationship between God and man, created in His image. The animal often appears confronted or dominated by man, but a second current of thought stemming from Saint Paul and Aristotle, which developed from the 12th century onwards, includes animals and humans in the same community of living creatures.
Bust of Artemis, with the typical classical figure of idealized features and impassive expression.Roman copy, National Archaeological Museum of Naples Since the Severe period, the effort of artists was directed towards obtaining an increasing verisimilitude of sculptural forms concerning the living model but also seeking to transcend mere likeness to express their inner virtues.