Saturday 1 September 2012

Mixing Art and History

Vincent Willem van Gogh's The Starry Night is one of his works which I am particularly drawn to. I thought I'd put my artistic skills to the test and produce my own version of it. I'm surprisingly pleased with the results!....

                                                        My own version of The Starry Night

Art and its artists are things which have always fascinated me, particularly when they are set within the context of history. Why did these artists paint? What did they paint? And how far were they influenced by the world around them?

In my first year of Durham I took a brilliant module in European history 1848-1918 in which I explored the artists of the period and the ways in which they responded to the profound changes happening throughout Europe. I studied Picasso and how his painting Les Demoiselles d'Avignon was inspired by the pessimism which he felt towards contemporary society. As industrialisation progressed and cities became overpopulated and disease-ridden, many people felt depressed by the new, nitty-gritty, grimey, immoral world in which they lived. In this painting, Picasso seems to be echoing  this feeling. The women are protrayed as prostitutes - provocative and immoral. Their faces are contorted or dirty to reflect the diseases that clung to Europe's growing cities. The tribal masks on the faces of two reflect European colonialism and the fear felt by some Europeans towards their new and unknown colonial subjects in Africa.

                                                                   Picasso's Les Demoiselles d'Avignon

This period was a time of uncertainty, and the way that it is reflected through art is fascinating. The historical context into which these artists fit has fuelled my interest in art and sparked a renewed interest in painting. Hopefully during my gap year I can explore this path a bit more!

Friday 24 August 2012

Practically famous...

Just found that I feature (albeit very briefly) on the British Library blog on their website. Very exciting!

In June some representatives from the British Library came up to Durham to run a workshop with around 7 students and some other academics from the medieval manuscript field. I presented a paper on the Grimbald Gospels and the contemporary educational reforms which provide part of the backdrop to the manuscript's history.

This is the Grimbald Gospels:




And this is the short piece which I presented:


BL Session: The Grimbald Gospels

The Grimbald Gospels is an 11th century Gospel Book, written in the mid-century, by the talented scribe Eadui Basan. The production of the Gospels can be assigned to Christ Church, Canterbury on stylistic grounds and the appearance of Eadui’s hand.

The decoration consists of an unusual use of silver and gold suggesting an influence from Saint Bertin (the foundations of Canterbury and Saint Bertin were in close proximity to each other). Beginning each of the four Gospel texts is an evangelist portrait and a decorative initial page with matching borders. However, the decoration for Mark is missing. These figures and initials are boldly silhouetted on austerely blank vellum grounds which mark a departure from the otherwise often elaborate surrounding of evangelist portraits. The pages for Matthew and Luke contain narrower and more sombre Winchester borders with acanthus patterns. The pages preceding St John have frames recalling the Winchester type but their figural composition is most unusual and not of Winchester origin.

Despite being made in the eleventh century, we can relate this Gospel Book to kingship of the ninth and tenth centuries. The manuscript contains a letter from Fulco, the Archbishop of Reims, to King Alfred (871-899), King of the West Saxons, alluding to the desperation that Alfred had shown in begging the Archbishop to help revitalise English book production and learning. In response, the Archbishop had sent over his protégé, Grimbald, and clearly felt that he was doing the king a great favour. Asser’s Life of Alfred glosses over the Alfred’s desperate plea for help from Fulco, described by Fulco in his letter, and simply states that Alfred’s envoys identified and recruited Grimbald as part of the king’s push for greater standards of education in England. Nonetheless, it supports the letter in describing the recruitment of Grimbald.

The Grimbald Gospels is so-called because it contains the earliest copy of Fulco’s letter. This letter was a later insertion into the manuscript, added on a supplementary quire. This quire was written by a squire from the New Minster, Winchester, a foundation in which Grimbald was celebrated in this period. This explains why scholars have associated the Gospels with Winchester – the manuscript must have been there sometime after its production for this quire to be added.

The manuscript itself was the product of an ecclesiastical scriptorium but the added letter attests to the key role played by the royal court in the initial revitalisation of English book production at the end of the ninth century. Aside from Fulco’s letter, we have other evidence of King Alfred’s push for a revival of learning and education in England. Asser’s Life of the King describes some of his activities and also alludes to his piety and his enthusiasm for education that the king showed in his early life. One of the most useful primary sources for information on the King’s push for the raising of educational standards is in his preface to his translation of Gregory the Great’s Pastoral Care in which Alfred laments the decline of educational standards and monasticism in England, describes the destruction caused by the Viking in invasions, and puts forward his thoughts on how education could be improved. He also specifically mentions Grimbald, who he calls “his mass priest”, as one of the men who helped him to learn the Latin which enabled him to translate Gregory’s Pastoral Care.

Beginning with this push by King Alfred’s for raising educational standards, evident in the letter copied into the Grimbald Gospels, England would see a succession of English kings, notably Alfred’s grandson, King Athelstan, and his grandson, King Edgar, who would drive educational and monastic reform. Under King Athelstan we have numerous examples of him importing and dealing in books for both political and pious reasons. For example, his gift of Bede’s Life of St Cuthbert to the community of Chester-le-Street can be seen as projecting a new image of kingship; one that portrayed the king as learned and scholarly, but also pious and humble, in an attempt to consolidate his control over Northumbria, an area over which he had only recently gained control. Then under King Edgar we see the rise of the great Benedictine reformers of Dunstan, Aethelwold and Oswald and a continued close association with royalty, and educational and monastic reform.

Though this Gospel Book provides us with evidence of Grimbald, and supports other evidence for King Alfred’s reforms, we actually know very little about the king’s policies in this period. We know of Alfred’s educational program because the foundation at Winchester culted Grimbald and inserted a letter about him into the manuscript. On the whole, royal records do not survive from this period so it is difficult to ascertain how extensive Alfred’s educational programme really was.

So the stress of finals and the dissertation rush took its toll a bit on this blog! It's probably time to reinvigorate it now that the degree is done and I'm finally taking that right-of-passage gap year post-university.

To be honest, I'm not really sure which direction this blog should go at the moment. A review of recent history books? Could be a bit dull... Or perhaps linking the history to contemporary news stories? Could be more interesting! Either way, hopefully I can create something which people want to read and enjoy. Here goes!

Monday 20 February 2012

The Dissertation.

So this weekend has been a dissertation slog. Everyone seems to have got 'the fear' a little bit over their dissertations. A friend and I decided over a much needed coffee break the other day that 'the fear' was definitely an appropriate name.

'The Dissertation' has always seemed something which was this terrifying and alien concept that only third years were ready to undertake and now that it has actually come to the task it really isn't as bad as expected. Well, it is and it isn't. Quelling the rising panic of having to write 15,000 on one subject that you've thought up yourself isn't always easy. Especially if when you explain your argument your supervisor he surveys you in this sort of 'I'm-not-quite-sure-where-you're-going-with-this' kind of look. But when you look as it as five 3,000 word essays then it's definitely not as bad, or not quite as bad anyway... Plus, you've chosen the title and thus the argument yourself so it's not a case of grappling with the ambiguous essay questions that lecturers have set.... So yes, I'm desperately trying to act like it's all under control...

Unfortunately I do seem to have set myself the challenge of a particularly challenging argument...it's a bit intangible...it's all about how knowledge is power... I'm focusing on the exchange of knowledge in the Shilluk District in Southern Sudan during the British Condominium in the first half of the 20th century. I promise it is more interesting than it sounds! For my first chapter I've been talking about how the traditional chiefs in the District traded their knowledge of tribal tradition and custom for a position in the state structure. And how effectively the British made knowledge into a currency that could be traded for power. Of course, as Wingate proclaimed in 1918: "Knowledge is power."

So I've done a couple of checks through and the chapter generally looks ok..but that means more that I've had enough of it for the moment and can't be bothered to trawl through it amazing myself at my lack of expression any longer.

Anyway...on to chapter 2: how the chiefs traded knowledge of the government for legitimacy among their people...

Friday 20 January 2012

Had a bit of a break over Christmas so haven't been blogging too much but back to the grindstone now! Currently trying to juggle dissertation and what seems like never ending essays so have certainly been reading a lot of history recently.

For my next essay I'm looking at medieval art - the extent to which Ottonian art in the 10th century was an offshoot of Carolingian art in the 9th and 10th centuries. I'm in the early stages of research so not sure what I'm going to argue at the moment but here are a few pictures of the manuscripts...





Enjoy!

Saturday 19 November 2011

Lumiere - Durham

Durham has been hosting Lumiere the past 3 days which is an amazing light show which, judging by the crowds from last night, attracts a lot of people!

A group of us went down to see the sights and take some photos - mine are very amateur! The display involved illuminating the Cathedral every half an hour with projections telling the story of St. Cuthbert and his community coming to Durham. There were also amazing projections of medieval manuscripts including the Lindisfarne Gospels which I had been studying earlier that day...though dropping in that I knew that it was, I retrained myself from giving my friends the details.






By far the best feature was the 't-shirt lanterns' in the cathedral itself. There were more than a few whispers of Harry Potter between people looking up at the display...




In the cloisters was a fire garden which was extremely atmospheric and looked quite apocalyptic.





Out the back of the cathedral was a further fire garden where one could just walk between various object on fire - we couldn't quite work out how they'd got this past health and safety but we didn't see anyone on fire so it must have been safe enough!




Walking back down the Bailey we came across some floating wire men (and women!) which were really cleverly done. There was one little boy that shouted: "Daddy, it's spiderman!", looking at one of the figures flying through the air...I'm sure that was exactly the symbolism that the Lumiere production teams were going for...



It was a great evening followed by a very restrained coke back at the bar in college. I would definitely recommend Lumiere for anyone wanting to experience such an amazing medieval city at its best...

Wednesday 16 November 2011

The Ada Gospels

For my special subject study this year I am studying the history of illuminated manuscripts - the recent exhibition that has opened in the British Library has loads of them on display...

http://www.bl.uk/royal

I have to admit that when I first looked at the possibility of studying medieval books for a year, it didn't really appeal when set alongside studying the intricacies of Stalinist thought, or the reign of Henry VIII. Yet, now that I've begun to appreciate how much these books tell us about the medieval world, I'm actually finding it all quite interesting...

Today, I presented my findings of the Ada Group of manuscripts which were produced in Charlemagne's court school up until he died. It is interesting to see how these manuscripts started off with quite a prominent insular influence (Irish and Anglo-Saxon art) and then moved on to a much more classical style with more sophisticated drawings and grander pictures.

Histories will often emphasise the desire of Charlemagne to make his reign like one of a Roman Emperor and the manuscripts and their art in this period shows the change over time and how this influence grew.

Here is a page from the Godescalc Gospel Lectionary - the first chronologically of this group, made c. 781-783:


The image is not yet very sophisticated and little attempt has been made to present 3D perspective in the picture. There is also a lot of insular interlace which shows the influence of insular art on the first books produced by this school.

A later manuscript in the Ada Group is the Harley Golden Gospels, thought to have been made c. 800. The images in this are much more sophisticated and classical with less of an insular influence.

The picture is quite classical and more sophisticated in the fact that the artist has made a serious attempt at introducing 3D perspectives into the picture. However, it is not completely sophisticated as can be seen by the foot stall that looks fairly out of perspective and the contours of his face are still quite 2D.

So it is interesting to look at not only how influences and styles changed, but also how artists grew and progressed in terms of depicting perspective.

What I find most interesting about studying history of this sort is that it makes a nice change from reading and interpreting texts - being able to look at a picture and make assumptions from it is in some ways more challenging but also makes a nice change!

Hopefully I'll be able to go to the exhibition at the British Library around Christmas and see some of them for myself!