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From Wikipedia, the free encyclopedia

St. Mark from the Ebbo Gospels

The Ebbo Gospels (Épernay, Bibliothèque Municipale, Ms. 1) is an early Carolingian illuminated Gospel book known for its illustrations that appear agitated. The book was produced in the ninth century at the Benedictine Abbaye Saint-Pierre d’Hautvillers. Its style influenced Carolingian art and the course of medieval art (Berenson, 165).

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  • Saint Matthew from the Ebbo Gospe
  • Carolingian Manuscripts Part 2: Ebbo Gospels
  • Coronation and Ebbo Gospels

Transcription

(music) Female 1: We're here at the International Congress on Medieval Studies at Kalamazoo. We're looking at the Ebbo Gospels. This is Matthew from the Ebbo Gospels, dated around 820s, 830s. Female 2: What we see here is the evangelist composing his Gospel book, hunched over writing very energetically. Something that makes this gospel book particularly interesting is this charged, energetic, very expressive style in contrast to the more modeled images of even the same period and especially of late antique and classical painting. You can see he's writing with his stylus. Female 1: So we see Medieval materials at work here. Female 2: Right. Female 1: And how Medieval people wrote with one hand with the stylus, the other hand with an ink horn. Sometimes when I see images, Medieval manuscripts of people writing, I also see one hand holding a stylus and the other hand holding a knife which holds the page down. Female 2: It is interesting, he's writing in a codex which became popular with the advent of Christianity. The life of the codex, or book as we know it, took off with Christianity. Female 1: You mentioned these, I think of them as frenzied lines. We think of this book and we think of this artist, the Ebbo master, and we think of these frenzied, crazy lines, and when I think of this, I think of the Utrecht Psalter and that these lines must have been how Carolingian artists interpreted classical drawing style. Female 2: I think it's also interesting because this is a distinct style in contrast to other Carolingian works. Female 1: We see a little classically inspired landscape with buildings in the upper part, again a very classical motif. Female 2: We should note Matthew's attribute up in the upper right-hand corner, which is a winged man. Each of the Gospel writers has their own attribute, which is related to the Book of Revelation. Female 1: And the four Apocalyptic beasts. Female 2: Yeah, the four Apocalyptic beasts. Very early on in Christianity this gets associated with the Gospel writers. Matthew is the winged man. Mark is the lion. Luke is the bull. John is the Eagle. Female 3: When we use the term Carolingian, what we really mean is art at the time of Charlemagne. Charlemagne was crowned the Holy Roman Emperor on Christmas Day in the year 800, and he was a really big reformer. He engaged in art reform by encouraging artists and scribes to study and copy the artistic and writing styles of ancient books. Those styles were more naturalistic, kind of unlike most Medieval artists. Charlemagne was particularly interested in reviving the artistic styles that were used in the early Christian period, and particularly those associated with the Roman Emperor, Constantine. Female 1: With Carolingian art, we see artists trying to wrestle with issues of perspective, and trying to bring back a greater sense of realistically representing figures in three dimensions. I see several ways in which the artist is trying to do that. One of them is that, we're looking at the leg here. I see all this highlighting, which is bringing the leg forward to us; where this frenzied line style allows for a lot of highlighting and shadowing, and the shadows recede. I see the artist wrestling with trying to give us a more three-dimensional view of Matthew, while at the same time the artist is missing badly in the footstool here and its very strange position in relation to where Matthew was actually sitting. Female 2: Yeah, and this awkward flattening. There's no foreshortening attempted in the stand for the book. It effectively presents the book to the viewer in an interesting way, and I think does emphasize the act of writing and composition, which is, of course, important for an evangelist. (music)

Date

The Gospel book contains a poem to Ebbo (also spelled Ebo), and so is dated within the time he was archbishop, usually to the period c. 816-835 before he was deposed. Ebbo also held Rheims from 840-841 and the Gospel book may have been made for his return (Chazelle, 1074).

Style

Each page is 10 in by 8 in. The illustrations have roots in late classical painting; landscapes are represented in an illusionistic style. Greek artists fleeing the Byzantine iconoclasm of the 8th century brought this style to Aachen and Reims (Berenson, 163).

The emotionalism, however, was new to Carolingian art and distinguishes the Ebbo Gospels from classical art. Figures are represented in nervous, agitated poses using a streaky style with swift brush strokes. The Utrecht Psalter is the most famous example of this school (Berenson, 163). Calkins (p.211) mentions the Codex Aureus of St. Emmeram (870) as another manuscript following this style.

Commentators have noted the similarity between the Utrecht Psalter and the Ebbo Gospels. The evangelist portrait of Matthew in the Ebbo Gospels is similar to the illustration of the psalmist in the first psalm of the Utrecht Psalter (Benson, 23; Chazelle, 1073). Other images in the Ebbo Gospels appear to be based on distortions of drawings which may have been from the Utrecht Psalter (Chazelle 1074). According to Goldschmidt (cited in Benson, 23):

In short, we find not one thing, whether it is a stool with a lion's head and claws, or an inkwell, whether it is the lance or the arrow of the warrior, the lions, the birds, the buildings, the figures, and the gestures that cannot be paralleled to the smallest detail in style as well as in content, in the Utrecht Psalter.

References

  • Benson, Gertrude R. (March 1931). "New light on the origin of the Utrecht Psalter". The Art Bulletin. 13 (1): 13–79. doi:10.1080/00043079.1931.11409295. JSTOR 3045474.
  • Berenson, Ruth (Winter 1966–1967). "The Exhibition of Carolingian art at Aachen". Art Journal. 26 (2): 160–165. doi:10.2307/775040. JSTOR 775040.
  • Calkins, Robert G. (1983). Illuminated books of the middle ages. Cornell University Press. ISBN 0-8014-9377-3.
  • Chazelle, Celia (October 1997). "Archbishops Ebo and Hincmar of Reims and the Utrecht Psalter". Speculum. 72 (4): 1055–1077. doi:10.2307/2865958. JSTOR 2865958.
  • Ross, Nancy, Carolingian Art Archived 2014-10-06 at the Wayback Machine, Smarthistory, undated

External links

This page was last edited on 22 February 2024, at 08:36
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