Knowledge (XXG)

Anglo-Saxon art

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entirely dispossessed the old Anglo-Saxon elite. Under these circumstances little significant art was produced, but when it was, the style often showed a slow development of Anglo-Saxon styles into a fully Romanesque version. The attribution of many individual objects has jumped around across the boundary of the Norman Conquest, especially for sculpture, including ivories. A number of objects are claimed for their period by both the "Golden Age of Anglo-Saxon Art" and the "English Romanesque art: 1066–1200" exhibition catalogues, despite both being published in 1984. These include the ivory triangle mount with angels and the "Sigurd" stone relief fragment (discussed above), both from Winchester, and the ivory "pen-case" and
856: 622: 1627:; it is surely the best known Anglo-Saxon work of art, and though made after the Conquest was both made in England and firmly in an Anglo-Saxon tradition, points now accepted by French art-historians. Such tapestries adorned both churches and wealthy houses in England, though at 0.5 by 68.38 metres (1.6 by 224.3 ft, and apparently incomplete) the Bayeux Tapestry must be exceptionally large. Only the figures and decoration are embroidered, on a background left plain, which shows the subject very clearly and was necessary to cover very large areas. All kinds of textile arts were produced by women, both nuns and laywomen, but many were probably designed by artists in other media. 1024: 644: 1381: 1064: 1353: 603: 1287: 1662: 489: 583: 1397: 402: 1575: 1177: 1044: 1302: 1338: 1528: 1012: 996: 293: 22: 1548: 1560: 34: 1416: 977: 1856: 798: 1438: 1595: 1102:, probably made in 698, with numerous linear images carved or incised in a technique that is a sort of large-scale engraving. The material of the earliest recorded crosses is unknown, but may well have been wood. From various references (to its destruction by Christians) there would seem to have been a tradition of Anglo-Saxon pagan monumental sculpture, probably in wood, of which no examples remain (as opposed to later 739: 664: 6079: 1322: 374:(mid-8th century, above left) where the evangelist portrait to the left is in a consistent adaptation of Italian style, probably closely following some lost model, though adding interlace to the chair frame, while the text page to the right is mainly in Insular style, especially in the first line, with its vigorous Celtic spirals and interlace. The following lines revert to a quieter style more typical of 188: 1159:, of 930–950, is a rare example to survive complete; most survivals are only a section of the shaft, and iconoclasts were more concerned to destroy imagery than ornament. Many crosses must have just fallen over after some centuries; headpieces are the least common survivals, and the Easby Cross was repaired with lead in a way described in early documents. Like many monuments from the area of the 537:
the text combine Carolingian elements with animal forms in inventive fashion. Miniatures added in England to the continental Aethelstan Psalter begin to show Anglo-Saxon liveliness in figure drawing in compositions derived from Carolingian and Byzantine models, and over the following decades the distinctive Winchester style with agitated draperies and elaborate acanthus borders develops.
1640:; they were made in Winchester between 909 and 916. These are works "of breathtaking brilliance and quality", according to Wilson, including figures of saints, and important early examples of the Winchester style, though the origin of their style is a puzzle; they are closest to the wall-painting fragment from Winchester mentioned above, and an early example of acanthus decoration. 572:, from the last years before the Conquest, uses mainly the tinted. Anglo-Saxon culture was coming into increasing contact with, and exchanging influences with, a wider Latin Mediaeval Europe. Anglo-Saxon drawing had a great influence in Northern France throughout the 11th century, in the so-called "Channel school", and Insular decorative elements such as 788:
sometimes contained gold, were also apparently often made by manuscript illuminators, and Goscelin's description of his talents therefore suggests an artist skilled in all the main Anglo-Saxon media for figurative art – of which being a goldsmith was then regarded as the most prestigious branch. One 11th-century lay goldsmith was even a
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were available, though certainly expensive, in Anglo-Saxon England, and a number of pieces have been found used in burials and reliquaries. Probably, as in later vestments, these were often married with locally embroidered borders and panels. If we had more Anglo-Saxon survivals, Byzantine influences
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about 937. There is a dedication portrait of the king presenting his book to the saint, the two of them standing outside a large church. This is the first real portrait of an English king, and heavily influenced by Carolingian style, with an elegant inhabited acanthus border. However, the initials in
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coloured glass almost certainly were; one of these was in the purse at Sutton Hoo. Otherwise recycling of Roman glass may have avoided the need to import raw glass; evidence for the production of this is slender. Glass is sometimes used as a substitute for garnet in jewellery, as in some pieces from
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Anglo-Scandinavians took up Anglo-Saxon sculptural forms with great enthusiasm, and in Yorkshire alone there are fragments from more than 500 monumental sculptures of the 10th and 11th centuries. However quantity was not matched by quality, and even the products of the main city, York, are described
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decorated with large "claw" forms have survived, mostly broken; these forms are also found in northern continental Europe. Beads, common in early female burials, and some ecclesiastical window glass was more brightly coloured, and several monastic sites have evidence of glass production. Vessel and
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The most highly valued embroideries were very different, fully worked in silk and gold of silver thread, and sometimes with gems of various sorts sewn in. These were used for vestments, altar-cloths and other church uses, and similar roles in the homes of the elite. Only a few pieces have survived,
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churches. Anglo-Saxon taste revelled in expensive materials and the effects of light on precious metals, which were also embroidered into fabrics and used on wall-paintings. Sections of decorated elements from some large looted works such as reliquaries were sawn up by Viking raiders and taken home
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during the work on the large shrine at Evesham, which was miraculously healed overnight. Spearhafoc and Mannig are the "only two goldsmiths of whom we have extended accounts", and the additional information given about Godric, the leader of a team brought in by Mannig for the shrine, is also unique
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Anglo-Saxon skill in gold-engraving, designs and figures engraved on gold objects, is mentioned by many foreign sources, and the few remaining engraved figures closely parallel the far more numerous pen-drawn figures in manuscripts, also an Anglo-Saxon speciality. Wall-paintings, which seem to have
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The energy, love of complicated twining ornament, and refusal to wholly respect a dignified classical decorum that are displayed in both Insular and Winchester school art had already influenced continental style, as discussed above, where it provided an alternative to the heavy monumentality that
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Relatively little art survives from the rest of the century after 1066, or at least is confidently dated to that period. The art of Normandy was already under heavy Anglo-Saxon influence, but the period was one of massive despoliation of the churches by the small new ruling class, who had almost
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All these changes were not restricted to manuscripts, and may not have been driven by manuscript style, but we have a greater number of manuscripts surviving than works in other media, even if in most cases illuminations are restricted to initials and perhaps a few miniatures. Several ambitious
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The final phase of Anglo-Saxon art is known as the Winchester School or style, though it was produced in many centres in the south of England, and perhaps the Midlands also. Elements of this begin to be seen from around 900, but the first major manuscripts only appear around the 930s. The style
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is a rather different sort of embroidery, on a far larger scale. As in most of Europe at the time, metalwork was the most highly regarded form of art by the Anglo-Saxons, but hardly any survives – there was enormous plundering of Anglo-Saxon churches, monasteries and the possessions of the
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The earliest group of survivals, now re-arranged and with the precious metal thread mostly picked out, are bands or borders from vestments, incorporating pearls and glass beads, with various types of scroll and animal decoration. These are probably 9th century and now in a church in
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with elements of older English art, and some particular elements including a nervous agitated style of drapery, sometimes matched by figures, especially in line drawings, which are the only images in many manuscripts, and were to remain especially prominent in medieval English art.
1724:, several of which are mentioned, but there may well have been much decorated leatherwork for secular satchels, purses, belts and the like, which contemporaries did not bother to mention and which represents a gap in our knowledge for the Early Medieval period throughout Europe. 1498:
but a number of figures of very high quality in high relief or fully in the round. In the last phase of Anglo-Saxon art two styles are apparent: one a heavier and formal one drawing from Carolingian and Ottonian sources, and the other the Winchester style, drawing from the
1612:, were apparently those for which Anglo-Saxon England was famous throughout Europe by the end of the period, but there are only a handful of survivals, probably partly because of the Anglo-Saxon love of using threads in precious metal, making the work valuable for scrap. 1224:, low grave-marker shaped like a long house with a pitched roof, and sometimes muzzled bears clutching on to each end. Ornament is sometimes a crude pattern of scoring, or scale-like elements presumably representing roofing shingles, but may include interlace and images. 473:(one containing a portrait or scene, here Christ or a saint) in the whole of Europe. The classically derived vine or plant scroll was to largely oust interlace as the dominant filler of ornamental spaces in Anglo-Saxon art, just as it did in much of Europe beginning with 821:
had been a very successful Archbishop of Canterbury. Like Spearhafoc, Mannig's biography, with some precise details, is given in the chronicle maintained by his abbey. His work also had a miracle associated with it – the lay goldsmith Godric stabbed his hand with an
367:(before 716), but the style there is very different; a far more illusionistic treatment, and an "attempt to introduce a pure Mediterranean style into Anglo-Saxon England", which failed, as "perhaps too advanced", leaving these images apparently as the only evidence. 784:. It was probably his artistic work which brought him into contact with the royal family, and launched his rapid promotion in the church. Even the imprecise details given, mostly by Goscelin, are therefore valuable evidence of what Anglo-Saxon metalwork was like. 359:, clearly following Italian models, greatly simplify them, misunderstand some details of the setting, and give them a border with interlace corners. The portrait of St Matthew is based on the same Italian model, or one extremely similar, used for the figure of 1732: 250:
in the far south, which the missionaries from Rome had made their headquarters, shows a wholly different, classically based art. These two styles mixed and developed together and by the following century the resulting Anglo-Saxon style had reached maturity.
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of the Celtic areas of Britain. Most sculpture was probably once painted, clarifying the designs, which are mostly in relatively low relief and not finished with great precision, and now almost all badly worn and weathered. Dating is usually difficult.
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manuscripts of the period. Yet the same artist almost certainly produced both pages, and is very confident in both styles; the evangelist portrait of John includes roundels with Celtic spiral decoration probably drawn from the enamelled escutcheons of
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in his Benedictional (see above), which shows the edge of what appears to be a huge acanthus "flower" (a term used in several documentary records) covering the wearer's back and shoulders. Other written sources mention other large-scale compositions.
893:, with an enamel face, is the best known of a group of finely worked liturgical jewels, and there are a number of high quality disk brooches. The most ornate of earlier ones are colourful and complicated with inlays and filigrees, but the 9th century 772:, none of which have identifiably survived, are about works in precious metal, and he is one of a small number of metalwork artists from the period whose name we know and whose work is described in any way. According to several sources, including the 963:
knives have survived with inscriptions and some decoration, and sword fittings and other military pieces are an important form of jewellery. A treatise on social status needed to say that mere ownership of a gilded sword did not make a man a
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invasions, and the number of significant objects surviving falls considerably, and their dating becomes even vaguer than of those from a century before. Most monasteries in the north were closed for decades, if not forever, and after the
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in Mercia, with a number of elements of different dates, including lively narrow decorative strip friezes, many including human figures, and panels with saints and the Virgin. The most intriguing fragments are firstly a group, now at
924:, then in Mercia. Jewellery is far more often found from burials of the early pagan period, as Christianity discouraged grave-goods, even the personal possessions of the deceased. Early Anglo-Saxon jewellery includes various types of 846:
on either side. Patronage by the great figures of the land, and the largest monasteries, became extravagant in this period, and the greatest late Anglo-Saxon churches must have presented a dazzling spectacle, somewhat in the style of
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Many fragments, parts of friezes and panels with figure and ornamental carving, have been recovered by archaeology, usually after being reused in rebuilt churches. The largest group of Anglo-Saxon sculpture is from a former abbey at
1023: 886:. Especially in the 9th century, Anglo-Saxon styles, sometimes derived from manuscripts rather than metal examples, are found in a great number of smaller pieces of jewellery and other small fittings from across northern Europe. 477:, though in England animals within the scrolls remained much more common than abroad. For some long time scrolls, especially in metal, bone or ivory, are prone to have an animal head at one end and a plant element at the other. 1380: 116:
after them, and most survivals were once on the continent. Anglo-Saxon taste favoured brightness and colour, and an effort of the imagination is often needed to see the excavated and worn remains that survive as they once were.
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survive, in a style showing many borrowings from English models, especially in initial pages, where Insular influence remained visible in northern France until even the 12th century. The Anglo-Saxon metalwork produced in the
485:, which has some 550 scenes in various stages of completion, giving insight into working methods. The illustrations give Old Testament scenes an entirely contemporary setting and are valuable images of Anglo-Saxon life. 920:, a major hoard of over 1,500 fragments of 7th and ?8th century metalwork pieces, mostly gold and military in nature, many with gold and garnet cloisonné inlays of high quality, was found by a metal-detectorist in 1352: 1150:
Typically, Anglo-Saxon crosses are tall and slender compared to Irish examples, many with a nearly square section, and more space given to ornament than figures. However, there are exceptions, like the massive
211:, which is also seen in illuminated manuscripts and some carved stone and ivory, probably mostly drawing from decorative metalwork motifs, and with further influences from the British Celts of the west and the 1072: 957:, with largely linear relief heads of kings in profile on the obverse, are more uniform, as representatives of what was a stable and respected currency by contemporary European standards. A number of complete 621: 1271:
It is also clear from literary sources that wall paintings were not uncommon, although not a prestigious form, and fragments of painted plaster have been found, as well as a painted face on a reused stone at
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was followed by another Anglo-Saxon abbot, between them covering the period from 796 to 834. Although Tours' own library was destroyed by Norsemen, over 60 9th century illuminated manuscripts from the
995: 901:". In these small but fully formed animals, of no recognisable species, contort themselves in foliage and tendrils that interlace, but without the emphatic geometry of the earlier "ribbon" style. 727:, probably interred in the 620s, transformed the history of Anglo-Saxon art, showing a level of sophistication and quality that was wholly unexpected at this date. The most famous finds are the 5921: 195:
Metalwork is almost the only form in which the earliest Anglo-Saxon art has survived, mostly in Germanic-style jewellery (including fittings for clothes and weapons) which was, before the
1260:, which it has been suggested may have been as long as eighty feet wide, and over four feet high. There are literary references to secular narrative tapestries, a tradition of which the 1147:
is inscribed together with Latin texts; more often donors are commemorated. It has also been suggested that as well as paint, they may have been embellished with metalwork and gems.
308:, one of the "Tiberius group", show the Northumbrian Insular and classicising continental styles that combined and competed in early Anglo-Saxon manuscripts. It was probably made in 2578: 1455:
As in the rest of the Christian world, while monumental sculpture was slowly re-emerging from its virtual absence in the Early Christian period, small-scale sculpture in metalwork,
735:, belt and other fittings of the king buried there, which made clear the source in Anglo-Saxon art, previously much disputed, of many elements of the style of Insular manuscripts. 1764:
styles, where forms of Anglo-Saxon invention such as the inhabited and historiated initials became more important than they ever had in Anglo-Saxon art itself, and works like the
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is the only survival, and this may have been a stone equivalent, celebrating Sigmund, who was believed to be an ancestor of the intermarried royal houses of both England and
1241:, in Kent, from a large composition with many figure scenes and groups on a curved surface, evidently of high quality, though uncertain date (perhaps early 10th century). A 949:, forced craftsmen, no doubt asked to copy Roman and contemporary continental styles, to work outside their traditional forms and conventions in respect of the heads on the 1479:
on it alludes to. It contains a unique mixture of pagan, historical and Christian scenes, evidently attempting to cover a general history of the world, and inscriptions in
1396: 1086:, which survives entirely in churches, with only a handful of largely unaltered examples, monumental stone sculpture survives in large stone crosses, an equivalent to the 2609: 866:
While larger works are all lost, several small objects and fragments have survived, nearly all having been buried; in recent decades professional archaeology as well as
3017: 838:, the largest example of this type of Early Medieval figure to survive from anywhere in Europe. These appear to have been life-size, or nearly so, and were mostly 2590:
Golden Age, 195; Dodwell (1982), 138–139. However a number of fringe theories persist – see the article. See also Henderson, 168–177 for an extended appreciation.
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appear in England, but gradually as political and cultural ties weakened the Anglo-Scandinavians fail to keep up with trends in the homeland. So elements of the
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No unmixed examples, that is to say. Scenes from Germanic mythology still appear in works of the Christian period, as in the Franks Casket and Gosforth Cross.
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In the final century of the period some large figures in precious metal are recorded; presumably these were made of thin sheets over a wooden core like the
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and a series of magnificent illuminated manuscripts, and the final period after about 950, when there was a revival of English culture after the end of the
4909: 2078: 1286: 1173:, the destruction of the gods, a theme detected in other Christian monuments in Britain and Scandinavia, and which could be turned to Christian advantage. 1527: 1301: 1280:
speaks of "stars, like the painted ceiling of a great man's house". However, no paintings that are at all complete have survived on either wall or panel.
765:, and none of the large-scale ones, shrines, doors and statues, that we know existed, and of which a few contemporary continental examples have survived. 5416: 855: 813:
Many monastic artists reached senior positions; Spearhafoc's career in metalwork was paralleled in less sensational fashion by his contemporary Mannig,
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among the surviving evidence. Some twenty years after the miracle, he joined the Abbey of Evesham, presumably in retirement, and his son later became
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The 9th century, especially the latter half, has very few major survivals made in England, but was a period when Insular and Anglo-Saxon influence on
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style is nearly complete. The important artistic centres, in so far as these can be established, were concentrated in the extremities of England, in
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By the 10th century Anglo-Saxon metalwork had a famous reputation as far afield as Italy, where English goldsmiths worked on plate for the altar of
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Bailey, Richard N. (2002). "Scandinavian Myth on Viking-period Stone Sculpture in England". In Barnes, Geraldine; Ross, Margaret Clunies (eds.).
3434: 107:("English work") was already recognised as the finest embroidery in Europe, although only a few pieces from the Anglo-Saxon period remain – the 5698: 4636: 4233: 3667: 1716:
to survive unaltered, can be dated to 698 or shortly before. It uses incised lines, some colours, and relief decoration built up over cord and
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Wilson, 154–156, quote 155; Dodwell (1993), 26; Golden Age, 19, 44, though neither these nor any textiles could be lent for the exhibition;
3278: 2349: 1163:, the Gosforth Cross combines Christian images with those from pagan mythology; apart from a Crucifixion scene, and perhaps scenes of the 2631: 1011: 780:, who knew him personally, Spearhafoc "was outstanding in painting, gold-engraving and goldsmithery", the painting very likely mainly in 682:
I and II decoration that would be expected from recent immigrants, but gradually develops a distinctive Anglo-Saxon character, as in the
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was more important than in later periods, and by no means a "minor art". Most Anglo-Saxon ivory was from marine animals, especially the
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This is one of the so-called "Tiberius group" of manuscripts, which leant towards the Italian style, and appear to be associated with
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Dodwell (1982)'s Chapter 1 gives a detailed analysis of the various causes of destruction of works of art, especially metalwork
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foliage sometimes seems over-luxuriant. Anglo-Saxon illustration included many lively pen drawings, on which the Carolingian
199:, commonly placed in burials. After the conversion, which took most of the 7th century, the fusion of Germanic Anglo-Saxon, 164:
excavation and some of which have simply been preserved over the centuries, especially in churches on the Continent, as the
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rarely of outstanding quality, which is why that find transformed thinking about early Anglo-Saxon art. Objects from the
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and deep ploughing have greatly increased the number of objects known. Among the few unburied exceptions are the secular
355:, of around 700–715, there are carpet pages and Insular initials of unprecedented complexity and sophistication, but the 5782: 5154: 4995: 4823: 3628: 3540: 3513: 2035: 1877: 461:
By the 10th century Insular elements were relegated to decorative embellishments in England, as the first phase of the "
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in the West is also found on an Anglo-Saxon ivory, and a late Anglo-Saxon Gospel book may show the earliest example of
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was mostly made in simple forms, with vessels always in a single colour, either clear, green or brown, but some fancy
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Respectively numbers: Golden Age: 114, 140, 132, 117, and Zarnecki: 190, 97, 185, 180. There are many other examples.
754: 348:, and for a considerable period the two styles appear mixed in a variety of proportions in Anglo-Saxon manuscripts. 1276:, dating to before 903, and so an important early example of the Winchester figure style. A metaphor in a letter of 112:
dispossessed nobility by the new Norman rulers in their first decades, as well as the Norsemen before them, and the
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bead production probably continued, at a much lower level, from the Romano-British industry, but Bede records that
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including three pieces at Durham placed in the coffin of St Cuthbert, probably in the 930s, after being given by
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style that the Anglo-Saxons brought with them from the continent in the 5th century, and ending in 1066 with the
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Manuscripts from the Winchester School or style only survive from about the 930s onwards; this coincided with a
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are seen, for example in the "ring-chain" interlace on the Gosforth Cross, and then the complex animals of the
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Moses the Egyptian in the Illustrated Old English Hexateuch (London, British Library Cotton MS Claudius B.iv)
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from Mercia, with oblong sections mostly covered by figures on the wider faces, like some Irish crosses. The
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patron from English artists working in the traditional Anglo-Saxon style. Anglo-Saxon artists also worked in
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crosses often only use vine-scrolls. There may be inscriptions, in the runic or Roman scripts, and Latin or
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The Art of the Anglo-Saxon Goldsmith; Fine Metalwork in Anglo-Saxon England: its Practice and Practitioners
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for window glass at his monasteries. It is not clear how much Anglo-Saxon glass was imported, but canes of
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style" developed. The first plant ornament, with leaves and grapes, was already seen in an initial in the
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However Anglo-Saxon society was massively disrupted in the 9th century, especially the later half, by the
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displays even in small objects. This habit of mind was an essential component of both the Romanesque and
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Perhaps the best known piece of Anglo-Saxon art is the Bayeux Tapestry which was commissioned by a
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are the most common survivals of fine metalwork from the earlier period, when they were buried as
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Sculpture in wood was very likely more common, but almost the only significant large survival is
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Seen by Wilson, 64–67, as "degeneration", this might also be seen as a return to the habits of
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in a provincial but accomplished version of the Winchester style, possibly originating in the
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The Anglo-Saxon crosses have survived less well than those in Ireland, being more subject to
469:, which can probably be dated to 746. The other large initial in the manuscript is the first 222:
in the far north of England was the crucible of Insular style in Britain, at centres such as
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and Late Antique techniques and motifs, together with the requirement for books, created the
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in Belgium. A further style of textile is a vestment illustrated in a miniature portrait of
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which appears to show a section of a large frieze with the story from Germanic mythology of
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to their wives to wear as jewellery, and a number of these survive in Scandinavian museums.
848: 814: 806: 629: 569: 406: 1855: 564:(c. 990) contains pages in both the painted and tinted drawing styles, including the first 6037: 5985: 5842: 5767: 5691: 5516: 5506: 5401: 5386: 5366: 5249: 5159: 5122: 5107: 4855: 4762: 4704: 4526: 4521: 4278: 4247: 4199: 3889: 3820: 3805: 3633: 3611: 3532: 3480: 3470: 3442: 3395: 3378: 3243: 3233: 3177: 3172: 2877: 2839:. California Studies in the History of Art. Vol. 14. University of California Press. 2783: 2504: 2365: 2268:
Dodwell (1982):46 and 55, who quotes Goscelin, and Historia:ciii-cv for the other sources.
1980: 1694: 1681: 1616: 1608: 1599: 1508: 1500: 1491: 1437: 1367: 1292: 1261: 1190: 1122: 1068: 1034: 936:
in Essex, dating from the late 6th century and discovered in 2003, were put on display in
879: 867: 797: 758: 705: 696: 694:. Round disk brooches were preferred for the grandest pieces, over continental styles of 653:, an angel is shown guarding the gates of paradise, after Adam and Eve have been expelled. 573: 553: 474: 414: 364: 179:
between them left virtually nothing in England except for books and archaeological finds.
157: 108: 104: 61: 53: 3869: 1594: 544:
is a masterpiece of the later Winchester style, which drew on Insular, Carolingian, and
6047: 6015: 5963: 5911: 5894: 5884: 5812: 5474: 5351: 5321: 5218: 5206: 5080: 5014: 4946: 4813: 4709: 4412: 4108: 4091: 4048: 3989: 3853: 3783: 3497: 3490: 3412: 3329: 3182: 1826: 1806: 1801: 1792: 1783:
shown only as a pair of legs and feet disappearing at the top of the image, the horned
1637: 1628: 1328: 1308: 1156: 1118: 747: 738: 663: 565: 561: 557: 528:. Illumination in a new style appears in a manuscript of the biographies by Bede of St 493: 466: 438: 73: 1799:. All of these were later used across Europe. The earliest developed depiction of the 897:, discovered in 1978, contained six splendid brooches in flat silver openwork in the " 6097: 5948: 5916: 5777: 5772: 5755: 5583: 5578: 5563: 5538: 5528: 5479: 5433: 5139: 5117: 5048: 4914: 4743: 4646: 4622: 4605: 4578: 4573: 4558: 4339: 4329: 4324: 4228: 3977: 3938: 3877: 3703: 3660: 3358: 3290: 3132: 3110: 3026: 1534: 1468: 1456: 1202: 1164: 921: 894: 871: 802: 743: 545: 204: 149: 141: 133: 129: 121: 2691:, Chapter 2, 2017, University of Notre Dame Press, ISBN 0268102058 / 9780268102050, 1193:
as "generally miserable and slipshod". In the early stages the successive styles of
6027: 5980: 5936: 5926: 5889: 5859: 5822: 5797: 5787: 5750: 5593: 5376: 5244: 4968: 4897: 4694: 4617: 4483: 4368: 4319: 4223: 4204: 4172: 4069: 4009: 4004: 3749: 3569: 3407: 3265: 3248: 3208: 3203: 3157: 3095: 2787: 2063: 1863: 1845: 1818: 1757: 1740:, 690s; the original tooled red goatskin binding is the earliest surviving Western 1702: 1698: 1495: 1460: 1206: 1133:, though the vine-scroll is already more prominent, and has faces to itself. Later 1050: 1002: 890: 679: 380: 187: 137: 45: 6022: 3883: 723:
Despite a considerable number of other finds, the discovery of the ship-burial at
713: 509: 2834: 2692: 1249:
can be identified, and parts of standing groups of saints, prophets or apostles.
1129:
are seen in alternating panels on the early Northumbrian Ruthwell, Bewcastle and
328:
styles that arose when the Anglo-Saxons encountered Irish missionary activity in
275:, and were gradually integrated into what was now a unified Anglo-Saxon kingdom. 5943: 5906: 5847: 5723: 5718: 5713: 5661: 5656: 5598: 5523: 5501: 5438: 5391: 5331: 5301: 5223: 5065: 4903: 4892: 4865: 4835: 4699: 4673: 4590: 4511: 4499: 4454: 4444: 4439: 4417: 4378: 4214: 4189: 4162: 4103: 4074: 4036: 3943: 3911: 3863: 3591: 3519: 3312: 3253: 3167: 3105: 3065: 1898: 1772: 1741: 1713: 1676: 1665: 1484: 1343: 1210: 1198: 1169: 1138: 1134: 1130: 823: 691: 333: 329: 317: 268: 223: 208: 161: 77: 2855:
Celtic and Anglo-Saxon Painting: Book illumination in the British Isles 600–800
2436: 344:
from Rome and its successors imported continental manuscripts like the Italian
5990: 5817: 5802: 5762: 5708: 5676: 5568: 5406: 5361: 5254: 5060: 4870: 4738: 4459: 4261: 4053: 4041: 3894: 3815: 3682: 3448: 3353: 3307: 3285: 3100: 3090: 3078: 3030: 2068: 1761: 1689: 1363: 1273: 1117:. Some featured large figurative sculpture of considerable quality, as on the 1110: 1087: 983: 929: 910: 769: 724: 667: 462: 418: 321: 309: 247: 231: 200: 176: 65: 26: 6052: 6042: 6005: 5837: 5827: 5807: 5792: 5633: 5603: 5336: 5259: 4678: 4464: 4301: 4058: 3759: 3708: 3606: 3417: 3223: 3194: 1776: 1472: 1442: 1205:
are mostly rather incompetently depicted in England, but traces of the next
1194: 145: 2512: 2250:
Wilson, 135 for St Peter's; Dodwell (1982) as next ref. for the reputation.
1390:, a rare example of 8th-century Anglo-Saxon stone carving not from a cross. 1268:, many of whom were buried in what was then the largest church in England. 238:(674) which looked to the continent. At about the same time as the Insular 1829:, an iconographic convention which grew over the rest of the Middle Ages. 6032: 5953: 5901: 5832: 5745: 5666: 5618: 5484: 5469: 5326: 5264: 5196: 5090: 5075: 4749: 4663: 4653: 4641: 4385: 4240: 3848: 3545: 3485: 3317: 839: 777: 548:
to make a heavier and more grandiose style, where the broad classicising
529: 447: 2984: 2621:
Wilson, 108; Dodwell (1993), 27, who gives details of further fragments.
1825:
are believed to be the earliest surviving visual representations of the
37:
11th century walrus ivory cross reliquary (Victoria & Albert Museum)
5371: 5174: 5112: 4929: 4828: 4568: 4295: 4290: 4128: 4016: 3972: 3734: 3429: 1645: 1490:
We have few Anglo-Saxon panels from book-covers compared to those from
1265: 1257: 1160: 1076: 987: 950: 818: 817:(Abbot 1044–58, d. 1066), and at the end of the previous century Saint 773: 589: 513: 451: 301: 272: 169: 57: 5995: 5854: 5628: 5346: 5276: 4845: 4757: 4612: 3843: 3385: 1476: 1464: 1277: 966: 768:
The references to specific works by the 11th-century monastic artist
717: 671: 615:, a rare non-liturgical illuminated manuscript from the early period. 391: 375: 255: 212: 165: 125: 81: 69: 1252:
Standing equally apart from other survivals is a late slab from the
928:
that are close to their Continental Germanic equivalents, but until
913:, and a fall-off from the highest earlier standards of workmanship. 874:, and two works made in Anglo-Saxon style carried to Austria by the 757:
itself, but hardly any pieces have survived the depredations of the
1705:, both materials are extremely rare in surviving Anglo-Saxon work. 4079: 3334: 3218: 1784: 1731: 1717: 1660: 1620: 1593: 1538: 1521:, and is a unique survival of late Anglo-Saxon fine wood carving. 1504: 1436: 1175: 1062: 953:, with results that are varied and often compelling. Later silver 945: 854: 796: 790: 737: 662: 608: 576:
remained popular into the 12th century in the Franco-Saxon style.
487: 434: 400: 291: 186: 100: 32: 20: 2857:. Chatto & Windus, London (New York: George Braziller), 1977. 5931: 4733: 2882:
Anglo-Saxon: Art From The Seventh Century To The Norman Conquest
2541:
Golden Age, 133–134; Dodwell (1982), 137–138; Henderson, 171–173
1995: 1685: 1480: 1407: 1359: 959: 387: 360: 337: 85: 2999: 1106:
pagan imagery), and with which the crosses initially competed.
2496:
Wilson, 149; Laing's typology is shown in 3 pages of drawings
1720:
or leather pieces. Larger prestige manuscripts had metalwork
1708:
The unique decorated leather cover of the small Northumbrian
1167:, all the other images appear to belong to the Norse myth of 556:, in Canterbury from about 1000, was highly influential; the 2867:, 1972 (English trans from German), Lund Humphries, London, 2822:, Translated by John Hudson, Oxford University Press, 2002, 1213:. They are "perhaps, dimly" evident in the cross shaft from 704:, a consistent Anglo-Saxon taste throughout the period; the 1184:; at right with added, but perhaps not inauthentic, colour. 2991:
An Introduction to Anglo-Saxon Manuscripts -online seminar
5922:
Art in the Protestant Reformation and Counter-Reformation
2550:
Dodwell (1982), 92–93; Wilson, 10–13, 155; Golden Age, 44
433:
were created in Northumbria), and the major monastery at
1598:
The English army flee, the final surviving scene of the
1141:, most famously at Ruthwell, where some of the poem the 678:
Pagan Anglo-Saxon metalwork initially uses the Germanic
316:
Early Anglo-Saxon manuscript illumination forms part of
1467:, imported from further north. The extraordinary early 1125:(both probably around 800). Vine-scroll decoration and 103:
carvings, and some works in metal and other materials.
72:
invasions. By the time of the Conquest the move to the
1503:
and an alternative Carolingian tradition. A very late
1037:. An unusual strap mount in the form of an animal head 512:(r. 924/5-939) and his successors. Æthelstan promoted 481:
projects of illumination are unfinished, such as the
160:, many examples of which have been recovered through 60:, whose sophisticated art was influential in much of 2913:
The Lindisfarne Gospels and the Early Medieval World
2599:
Dodwell (1982), Chapter V; Dodwell (1993), Chapter 2
370:
A different mixture is seen in the opening from the
279:
combined influences from the continental art of the
5877: 5642: 5452: 5232: 5024: 5008: 4687: 4492: 4271: 4260: 4090: 4027: 3920: 3836: 3727: 3531: 3264: 3064: 3055: 2969:
Pen and Parchment : Drawing in the Middle Ages
2884:, Thames and Hudson (US edn. Overlook Press), 1984. 2368:, 24 September 2009, (retrieved 24 September 2009). 1791:standing at the foot of the cross and writing, and 516:(909–988), a practising illuminator, eventually to 409:, early 11th century, in the late Winchester style. 320:, a combination of influences from Mediterranean, 1752:(illustrated above), both in the British Museum. 1209:are hard to detect; they are much clearer on the 2725:. Sydney: University of Sydney. pp. 15–23. 2478:Wilson, 142–152; 142 "more than 500; 144 (quote) 267:is known until well on into the tenth century". 2513:photo of good examples from Brompton, Yorkshire 1606:The textile arts of embroidery and "tapestry", 943:The earliest Anglo-Saxon coin type, the silver 508:within English monasticism, encouraged by King 363:that is one of the two large miniatures in the 712:are 7th-century examples. Decoration included 263:of before 850, perhaps well before, "no major 191:Bird from the Sutton Hoo shield (part replica) 48:period of English history, beginning with the 3011: 2678:It is the earliest cited by Schiller, II, 117 2043: 242:was being made in the early 8th century, the 8: 2836:The Horned Moses in Medieval Art and Thought 859:Disc brooch from Monkton, on display at the 2973:. New York: The Metropolitan Museum of Art. 2796:The Golden Age of Anglo-Saxon Art, 966–1066 2079:List of illuminated Anglo-Saxon manuscripts 1817:opens with the earliest known image of the 1768:(c. 1110) show the process in other media. 5021: 4268: 3061: 3018: 3004: 2996: 2050: 2036: 1836: 1511:, is carved all over with scenes from the 1451:, an especially popular subject in England 1220:A uniquely Anglo-Scandinavian form is the 2798:, 1984, British Museum Publications Ltd, 2259:Dodwell (1982):10–11, 44–47, 61–83, 216ff 909:silver disk brooch, shows influence from 649:In this illustration from page 46 of the 2957:Coatsworth, Elizabeth; Pinder, Michael, 2770:The Pictorial arts of the West, 800–1200 2719:Old Norse Myths, Literature, and Society 2352:Six disc brooches from the Pentney hoard 2120:Wilson, 10–11; Dodwell (1982), chapter 2 2891:, 1984, Arts Council of Great Britain, 2820:: The History of the Church of Abingdon 2104: 2005: 1962: 1916: 1890: 1862: 1844: 1523: 1282: 1053:of gold with a sapphire and glass inset 972: 578: 532:given by Æthelstan to the monastery in 226:, founded c. 635 as an offshoot of the 197:Christianisation of Anglo-Saxon England 5699:Contemporary Indigenous Australian art 2669:Dodwell (1993), 117; Mellinkoff, 18-21 2612:, from Textile Research Centre, Leiden 2232:Wilson, 156–157; Dodwell (1993), 95–96 1059:Monumental sculpture and wall painting 80:, especially in the early period, and 3719:Art of the late 16th century in Milan 2985:Corpus of Anglo-Saxon Stone Sculpture 2865:Iconography of Christian Art, Vol. II 1553:8th century plaque from ?a book cover 934:Royal Anglo-Saxon tomb in Prittlewell 842:, sometimes with figures of Mary and 454:has a manuscript counterpart in the " 16:English art of the Anglo-Saxon period 7: 2313:History:159 and Dodwell (1982):65–66 1701:, where the image sits under carved 417:manuscripts was at its height, from 340:in particular. At the same time the 1840:This article is part of the series: 91:Anglo-Saxon art survives mostly in 5054:Vienna School of Fantastic Realism 3905:Neoclassical architecture in Milan 2768:"Dodwell (1993)": Dodwell, C. R., 2756:Anglo-Saxon Art, A New Perspective 2754:"Dodwell (1982)": Dodwell, C. R., 1017:Ring, 775-850, in Trewhiddle style 14: 5128:American Figurative Expressionism 3464:International Gothic art in Italy 2889:English Romanesque Art, 1066–1200 2174:Wilson, 131–133; Henderson, 63–71 6078: 6077: 4637:Neue KĂĽnstlervereinigung MĂĽnchen 2532:Golden Age, 40–41; Wilson, 70–72 1854: 1573: 1558: 1546: 1526: 1414: 1395: 1379: 1351: 1336: 1320: 1300: 1285: 1042: 1022: 1010: 994: 975: 642: 635:Benedictional of Saint Æthelwold 620: 601: 581: 524:and the French-trained Norseman 5559:Tunisian collaborative painting 5032:International Typographic Style 2818:Historia Ecclesie Abbendonensis 2362:Highlights of Anglo-Saxon hoard 2322:Dodwell (1982):48, 80 and 65–67 1775:innovations include the animal 1697:was used, most famously in the 970:, the lowest rank of free men. 44:covers art produced within the 5312:The Caribbean Artists Movement 2937:The Art of Anglo-Saxon England 2925:, 2012, British Museum Press, 2277:Dodwell (1982):58, 79–83, 92–3 1809:at the foot of the cross in a 1215:St Oswald's Priory, Gloucester 1182:St Oswald's Priory, Gloucester 568:with a "lion mask", while the 542:Benedictional of St. Æthelwold 1: 3668:Dutch and Flemish Renaissance 2887:Zarnecki, George and others; 2156:Nordenfalk, 96–107, Wilson 94 1448:Christ Treading on the Beasts 1402:Worn relief of an angel from 1180:Fragment of cross shaft from 405:Evangelist portrait from the 5783:Modern European ink painting 5155:Bay Area Figurative Movement 2632:portrait of Saint Aethelwold 1632:would no doubt be apparent. 390:, or perhaps the kingdom of 5444:Artificial intelligence art 2987:hosted by Durham University 2812:, 1972, rev. 1977, Penguin. 2642:Zarnecki, 17–23, 83–84, 232 1623:and shows the story of the 1582:Anglo-Saxon reliquary cross 882:(late 8th century) and the 6130: 5357:Post-painterly abstraction 5180:Situationist International 4554:Pennsylvania Impressionism 2487:Wilson, 142–149, quote 147 2469:Bailey, 18–22; Wilson, 150 2295:See Dodwell (1982), passim 1795:creating the world with a 1684:brought glass-makers from 1625:Norman conquest of England 1619:is embroidered in wool on 1584:"corpus" on a German cross 1404:St Mary's Church, Reculver 1374:for face with vine-scrolls 1239:St Mary's Church, Reculver 716:("cellwork"), in gold and 506:wave of revival and reform 236:Monkwearmouth-Jarrow Abbey 6073: 4940:California Scene Painting 4819:California Scene Painting 4775:Figurative Constructivism 3826:Poussinists and Rubenists 3042: 2833:Mellinkoff, Ruth (1970). 2630:Dodwell (1982), 183–185; 2610:St. Cuthbert Embroideries 2581:, Accession No.: 1953.362 2331:Dodwell (1982), Chapter 2 1821:. Several images in the 889:From England itself, the 6038:Prehistoric European art 5687:Contemporary African art 5170:Gendai Bijutsu Kondankai 5098:GeneraciĂłn de la Ruptura 4725:Universal Constructivism 4517:California Impressionism 4472:American Barbizon school 2460:, Easby Cross, A.88–1930 2084:Anglo-Saxon architecture 1819:Fall of the Rebel Angels 1084:Anglo-Saxon architecture 720:for high-status pieces. 596:, an Insular masterpiece 518:Archbishop of Canterbury 99:, a number of very fine 97:Anglo-Saxon architecture 5865:Walking Artists Network 5202:Letterist International 5042:Washington Color School 3956:Arts in the Philippines 2939:, 2011, Boydell Press, 2758:, 1982, Manchester UP, 2579:Cleveland Museum of Art 2503:15 October 2012 at the 2404:Wilson, 152 and passim. 2223:Dodwell (1993), 118–120 2138:Wilson, 142 (quote), 60 1736:The front cover of the 1366:(section missing) with 1254:Old Minster, Winchester 938:Southend Central Museum 836:Golden Madonna of Essen 782:illuminated manuscripts 288:Illuminated manuscripts 93:illuminated manuscripts 5976:Illuminated manuscript 5624:The Designers Republic 5574:Neue Slowenische Kunst 5497:Pattern and Decoration 5397:Institutional critique 5037:Abstract expressionism 4017:Latin American Baroque 3973:Colonial Asian Baroque 2935:Karkov, Catherine E., 2241:Dodwell (1993), 96–104 2147:Wilson, 40, 49 (quote) 2089:Anglo-Saxon literature 1963:Power and organization 1766:Gloucester Candlestick 1744: 1669: 1603: 1452: 1388:Peterborough Cathedral 1295:- south and east faces 1185: 1079: 863: 810: 750: 731:and matching suite of 675: 501: 429:(though the important 410: 372:Stockholm Codex Aureus 313: 306:Stockholm Codex Aureus 265:illuminated manuscript 220:Kingdom of Northumbria 192: 88:near the south coast. 38: 30: 5614:Artist-run initiative 5589:Young British Artists 5554:New European Painting 5490:Moscow Conceptualists 5412:Feminist art movement 5190:Ukrainian underground 5165:Gutai Art Association 4564:Ten American Painters 4068:Western influence in 3045:List of art movements 2961:, 2002, Boydell Press 1986:Monarchs and kingdoms 1823:Old English Hexateuch 1735: 1712:, the oldest Western 1664: 1597: 1440: 1358:8th-century cross at 1313:Dumfries and Galloway 1179: 1066: 858: 800: 741: 666: 560:is a copy of it. The 498:Old English Hexateuch 491: 483:Old English Hexateuch 421:such as those at the 404: 394:in the heyday of the 346:St. Augustine Gospels 295: 190: 36: 25:Shoulder-clasps from 24: 5424:Saqqakhaneh movement 5317:Chicano art movement 5185:Soviet Nonconformist 4991:Boston Expressionism 4974:Abstraction-CrĂ©ation 4792:Arbeitsrat fĂĽr Kunst 4785:Cologne Progressives 4505:Art Nouveau in Milan 4308:Anglo-Japanese style 4284:National romanticism 3714:Fontainebleau School 3624:Northern Renaissance 3459:International Gothic 2965:Holcomb, M. (2009). 2742:on 14 September 2009 2687:Broderick, Herbert, 2577:Golden Age, 125–126; 2304:Gransden:65. History 2074:Migration Period art 1235:Canterbury Cathedral 1096:St Cuthbert's coffin 1031:Sutton-on-the-Forest 982:Replica helmet from 688:Anglo-Saxon brooches 686:of the 5th century. 592:to Matthew from the 492:Illustration of the 357:evangelist portraits 304:to Matthew from the 5959:Hierarchy of genres 5524:Saint Soleil School 5460:Post-conceptual art 5429:The Stars Art Group 5307:Black Arts Movement 5270:Neo-Dada Organizers 5071:Lyrical abstraction 4804:Australian tonalism 4477:California Tonalism 4149:Hudson River School 3952:Colonial Asian art 3692:English Renaissance 3641:Ghent–Bruges school 3629:Early Netherlandish 3541:Italian Renaissance 3454:Gothic art in Milan 2808:Henderson, George. 2509:AS Sculpture Corpus 2395:Dodwell (1982), 190 2386:Golden Age, 170–171 2129:Dodwell (1982), 3–4 1848:society and culture 1789:John the Evangelist 1386:The Hedda Stone in 1230:Breedon-on-the-Hill 1115:English Reformation 918:Staffordshire hoard 876:Anglo-Saxon mission 844:John the Evangelist 763:English Reformation 710:Harford Farm Brooch 702:penannular brooches 700:and Romano-British 594:Book of Lindisfarne 471:historiated initial 423:Anglo-Saxon mission 353:Lindisfarne Gospels 298:evangelist portrait 240:Lindisfarne Gospels 114:English Reformation 29:, early 7th century 6001:Landscape painting 5609:New Leipzig School 5549:Neo-conceptual art 5297:Art & Language 5292:Capitalist realism 5214:Florida Highwaymen 5150:Hard-edge painting 4964:Streamline Moderne 4925:Harlem Renaissance 4768:Novecento Italiano 4596:Deutscher Werkbund 4423:Post-Impressionism 3985:Latin American art 3789:Guild of Romanists 3651:German Renaissance 3646:Northern Mannerism 2853:Nordenfalk, Carl. 2340:Wilson, 9, 133–137 2183:Dodwell (1993), 90 1745: 1738:St Cuthbert Gospel 1710:St Cuthbert Gospel 1670: 1604: 1568:, Winchester style 1533:Rear panel of the 1483:in both Latin and 1453: 1243:Sacrifice of Isaac 1186: 1104:Anglo-Scandinavian 1080: 907:Anglo-Scandinavian 905:, an 11th-century 864: 811: 751: 684:Quoit Brooch Style 676: 651:Caedmon manuscript 613:Durham Cassiodorus 502: 431:Echternach Gospels 411: 314: 193: 39: 31: 6091: 6090: 5873: 5872: 5729:Corporate Memphis 5682:Classical Realism 5652:Amazonian pop art 5544:Appropriation art 5512:Neo-expressionism 5382:Environmental art 5287:Nouvelle tendance 5004: 5003: 4952:Socialist realism 4809:Dresden Secession 4428:Neo-Impressionism 4391:Decadent movement 4362:Heidelberg School 4256: 4255: 4154:American luminism 4139:DĂĽsseldorf School 4134:Shoreham Ancients 4124:Nazarene movement 4114:Danish Golden Age 3995:Indochristian art 3673:Antwerp Mannerism 3562:Pittura infamante 3556:Florentine School 3551:Proto-Renaissance 2861:Schiller, Gertrud 2772:, 1993, Yale UP, 2703:Mellinkoff, 13-15 2433:"Sanbach crosses" 2094:Anglo-Saxon glass 2060: 2059: 1815:Junius manuscript 1797:pair of compasses 1722:treasure bindings 1673:Anglo-Saxon glass 1566:Baptism of Christ 1426:Gosforth, Cumbria 1144:Dream of the Rood 761:in 1066, and the 630:Baptism of Christ 534:Chester-le-Street 456:Cutbercht Gospels 425:'s foundation at 396:Mercian Supremacy 342:Gregorian mission 281:Holy Roman Empire 244:Vespasian Psalter 148:(for example the 6121: 6081: 6080: 6065:Western painting 6011:Modern sculpture 5969:History painting 5672:Art intervention 5465:Installation art 5282:Nouveau rĂ©alisme 5022: 4996:Leningrad School 4888:Mexican muralism 4861:Grosvenor School 4601:American Realism 4584:Der Blaue Reiter 4542:Berlin Secession 4537:Vienna Secession 4532:Munich Secession 4450:Pont-Aven School 4269: 4119:Troubadour style 4097:(c. 1770 – 1862) 4064:Qing handicrafts 4030:Western elements 3961:Letras y figuras 3934:African-American 3929:African diaspora 3900:Directoire style 3811:Heptanese school 3794:Dutch Golden Age 3779:Stroganov School 3772:Lutheran Baroque 3767:Louis XIII style 3740:Baroque in Milan 3602:Bolognese School 3597:High Renaissance 3580:Forlivese School 3575:Ferrarese School 3298:Migration Period 3062: 3020: 3013: 3006: 2997: 2974: 2878:Wilson, David M. 2850: 2784:Backhouse, Janet 2751: 2749: 2747: 2741: 2735:. Archived from 2724: 2704: 2701: 2695: 2685: 2679: 2676: 2670: 2667: 2661: 2660:Henderson, 63–71 2658: 2652: 2649: 2643: 2640: 2634: 2628: 2622: 2619: 2613: 2606: 2600: 2597: 2591: 2588: 2582: 2575: 2569: 2566: 2560: 2557: 2551: 2548: 2542: 2539: 2533: 2530: 2524: 2521: 2515: 2494: 2488: 2485: 2479: 2476: 2470: 2467: 2461: 2455: 2449: 2448: 2446: 2444: 2439:on 30 March 2012 2435:. Archived from 2429: 2423: 2420: 2414: 2411: 2405: 2402: 2396: 2393: 2387: 2384: 2378: 2375: 2369: 2359: 2353: 2347: 2341: 2338: 2332: 2329: 2323: 2320: 2314: 2311: 2305: 2302: 2296: 2293: 2287: 2284: 2278: 2275: 2269: 2266: 2260: 2257: 2251: 2248: 2242: 2239: 2233: 2230: 2224: 2221: 2215: 2208: 2202: 2199: 2193: 2190: 2184: 2181: 2175: 2172: 2166: 2163: 2157: 2154: 2148: 2145: 2139: 2136: 2130: 2127: 2121: 2118: 2112: 2109: 2052: 2045: 2038: 2014:Christianisation 1917:Material culture 1858: 1837: 1781:ascending Christ 1650:Saint Aethelwold 1577: 1562: 1550: 1541:takes Jerusalem. 1530: 1418: 1399: 1383: 1355: 1340: 1324: 1304: 1289: 1153:Sandbach Crosses 1100:Durham Cathedral 1073:alternative view 1046: 1026: 1014: 998: 979: 899:Trewhiddle style 861:Ashmolean Museum 849:Eastern Orthodox 815:Abbot of Evesham 807:Trewhiddle style 801:Brooch from the 646: 624: 605: 585: 570:Tiberius Psalter 427:Echternach Abbey 407:Grimbald Gospels 261:Canterbury Bible 50:Migration period 6129: 6128: 6124: 6123: 6122: 6120: 6119: 6118: 6104:Anglo-Saxon art 6094: 6093: 6092: 6087: 6069: 5986:Interactive art 5869: 5843:SoFlo Superflat 5768:Kitsch movement 5692:Africanfuturism 5644: 5638: 5517:Transavantgarde 5448: 5402:Light and Space 5387:Performance art 5367:Psychedelic art 5250:Nueva Presencia 5240:Otra FiguraciĂłn 5228: 5160:Les Plasticiens 5145:New York School 5123:Action painting 5108:Metcalf Chateau 5017: 5012: 5000: 4920:Cercle et CarrĂ© 4856:New Objectivity 4763:Return to order 4705:School of Paris 4683: 4527:School of Paris 4488: 4374:Arts and Crafts 4279:Neo-romanticism 4264: 4252: 4248:Etching revival 4200:Barbizon school 4144:Pre-Raphaelites 4096: 4093: 4086: 4029: 4023: 3916: 3890:Louis XVI style 3832: 3821:Louis XIV style 3784:Animal painting 3745:Flemish Baroque 3723: 3634:World landscape 3585:Venetian School 3527: 3514:Majorcan school 3481:Novgorod School 3471:Lucchese School 3443:Opus Anglicanum 3435:Norman-Sicilian 3379:Italo-Byzantine 3279:Early Christian 3260: 3244:Pompeian Styles 3057: 3051: 3038: 3024: 2981: 2964: 2923:Anglo-Saxon Art 2919:Webster, Leslie 2909:Brown, Michelle 2905: 2903:Further reading 2847: 2832: 2792:Webster, Leslie 2745: 2743: 2739: 2733: 2722: 2715: 2712: 2707: 2702: 2698: 2686: 2682: 2677: 2673: 2668: 2664: 2659: 2655: 2650: 2646: 2641: 2637: 2629: 2625: 2620: 2616: 2607: 2603: 2598: 2594: 2589: 2585: 2576: 2572: 2567: 2563: 2558: 2554: 2549: 2545: 2540: 2536: 2531: 2527: 2522: 2518: 2505:Wayback Machine 2495: 2491: 2486: 2482: 2477: 2473: 2468: 2464: 2456: 2452: 2442: 2440: 2431: 2430: 2426: 2421: 2417: 2412: 2408: 2403: 2399: 2394: 2390: 2385: 2381: 2376: 2372: 2366:The Independent 2360: 2356: 2348: 2344: 2339: 2335: 2330: 2326: 2321: 2317: 2312: 2308: 2303: 2299: 2294: 2290: 2285: 2281: 2276: 2272: 2267: 2263: 2258: 2254: 2249: 2245: 2240: 2236: 2231: 2227: 2222: 2218: 2209: 2205: 2200: 2196: 2191: 2187: 2182: 2178: 2173: 2169: 2164: 2160: 2155: 2151: 2146: 2142: 2137: 2133: 2128: 2124: 2119: 2115: 2110: 2106: 2102: 2056: 1847: 1835: 1730: 1682:Benedict Biscop 1659: 1657:Other materials 1629:Byzantine silks 1617:Bayeux Tapestry 1609:Opus anglicanum 1600:Bayeux Tapestry 1592: 1585: 1578: 1569: 1563: 1554: 1551: 1542: 1531: 1509:Cleveland, Ohio 1507:casket, now in 1501:Utrecht Psalter 1471:is carved from 1435: 1428: 1419: 1410: 1400: 1391: 1384: 1375: 1356: 1347: 1341: 1332: 1325: 1316: 1305: 1296: 1293:Bewcastle Cross 1290: 1262:Bayeux Tapestry 1191:David M. Wilson 1123:Bewcastle Cross 1069:Bewcastle Cross 1061: 1054: 1047: 1038: 1035:North Yorkshire 1027: 1018: 1015: 1006: 999: 990: 980: 880:Tassilo Chalice 868:metal-detecting 759:Norman Conquest 706:Kingston Brooch 661: 654: 647: 638: 625: 616: 606: 597: 586: 554:Utrecht Psalter 475:Carolingian art 450:area of modern 365:Codex Amiatinus 290: 228:Irish monastery 185: 109:Bayeux Tapestry 105:Opus Anglicanum 62:northern Europe 54:Norman Conquest 42:Anglo-Saxon art 17: 12: 11: 5: 6127: 6125: 6117: 6116: 6111: 6106: 6096: 6095: 6089: 6088: 6086: 6085: 6074: 6071: 6070: 6068: 6067: 6062: 6055: 6050: 6045: 6040: 6035: 6030: 6025: 6020: 6019: 6018: 6016:Late modernism 6013: 6003: 5998: 5993: 5988: 5983: 5978: 5973: 5972: 5971: 5966: 5964:Genre painting 5956: 5951: 5946: 5941: 5940: 5939: 5934: 5929: 5924: 5914: 5912:Ballets Russes 5909: 5904: 5899: 5898: 5897: 5895:Asemic writing 5887: 5885:History of art 5881: 5879: 5878:Related topics 5875: 5874: 5871: 5870: 5868: 5867: 5862: 5857: 5852: 5851: 5850: 5845: 5835: 5830: 5825: 5820: 5815: 5813:Relational art 5810: 5805: 5800: 5795: 5790: 5785: 5780: 5775: 5770: 5765: 5760: 5759: 5758: 5748: 5743: 5738: 5736:Hypermodernism 5733: 5732: 5731: 5721: 5716: 5711: 5706: 5701: 5696: 5695: 5694: 5684: 5679: 5674: 5669: 5664: 5659: 5654: 5648: 5646: 5640: 5639: 5637: 5636: 5631: 5626: 5621: 5616: 5611: 5606: 5601: 5596: 5591: 5586: 5581: 5576: 5571: 5566: 5561: 5556: 5551: 5546: 5541: 5536: 5531: 5526: 5521: 5520: 5519: 5509: 5504: 5499: 5494: 5493: 5492: 5482: 5477: 5475:Postminimalism 5472: 5467: 5462: 5456: 5454: 5450: 5449: 5447: 5446: 5441: 5436: 5431: 5426: 5421: 5420: 5419: 5409: 5404: 5399: 5394: 5389: 5384: 5379: 5374: 5369: 5364: 5359: 5354: 5352:Generative art 5349: 5344: 5339: 5334: 5329: 5324: 5322:Conceptual art 5319: 5314: 5309: 5304: 5299: 5294: 5289: 5284: 5279: 5274: 5273: 5272: 5262: 5257: 5252: 5247: 5242: 5236: 5234: 5230: 5229: 5227: 5226: 5221: 5219:Cybernetic art 5216: 5211: 5210: 5209: 5207:Ultra-Lettrist 5204: 5194: 5193: 5192: 5182: 5177: 5172: 5167: 5162: 5157: 5152: 5147: 5142: 5137: 5136: 5135: 5125: 5120: 5115: 5110: 5105: 5100: 5095: 5094: 5093: 5088: 5083: 5081:Arte Informale 5078: 5068: 5063: 5058: 5057: 5056: 5046: 5045: 5044: 5034: 5028: 5026: 5019: 5018:(1945–present) 5006: 5005: 5002: 5001: 4999: 4998: 4993: 4988: 4983: 4978: 4977: 4976: 4966: 4961: 4960: 4959: 4954: 4947:Heroic realism 4944: 4943: 4942: 4932: 4927: 4922: 4917: 4912: 4907: 4900: 4895: 4890: 4885: 4884: 4883: 4881:Latin American 4878: 4868: 4863: 4858: 4853: 4851:Group of Seven 4848: 4843: 4838: 4833: 4832: 4831: 4821: 4816: 4814:Social realism 4811: 4806: 4801: 4800: 4799: 4797:November Group 4789: 4788: 4787: 4782: 4772: 4771: 4770: 4760: 4755: 4754: 4753: 4741: 4736: 4731: 4730: 4729: 4728: 4727: 4720:Latin American 4715:Constructivism 4712: 4710:Crystal Cubism 4707: 4702: 4697: 4691: 4689: 4685: 4684: 4682: 4681: 4676: 4671: 4666: 4661: 4656: 4651: 4650: 4649: 4639: 4634: 4627: 4626: 4625: 4620: 4610: 4609: 4608: 4598: 4593: 4588: 4587: 4586: 4581: 4571: 4566: 4561: 4556: 4551: 4550: 4549: 4544: 4539: 4534: 4524: 4519: 4514: 4509: 4508: 4507: 4496: 4494: 4490: 4489: 4487: 4486: 4481: 4480: 4479: 4469: 4468: 4467: 4462: 4457: 4452: 4447: 4442: 4437: 4436: 4435: 4420: 4415: 4413:Volcano School 4410: 4409: 4408: 4403: 4393: 4388: 4383: 4382: 4381: 4371: 4366: 4365: 4364: 4359: 4354: 4349: 4348: 4347: 4342: 4327: 4322: 4317: 4312: 4311: 4310: 4298: 4293: 4288: 4287: 4286: 4275: 4273: 4266: 4258: 4257: 4254: 4253: 4251: 4250: 4245: 4244: 4243: 4238: 4237: 4236: 4221: 4220: 4219: 4218: 4217: 4207: 4202: 4192: 4187: 4186: 4185: 4175: 4170: 4168:Norwich School 4165: 4160: 4159: 4158: 4157: 4156: 4146: 4141: 4136: 4131: 4126: 4121: 4116: 4111: 4109:Fairy painting 4100: 4098: 4088: 4087: 4085: 4084: 4083: 4082: 4077: 4066: 4061: 4056: 4051: 4046: 4045: 4044: 4033: 4031: 4025: 4024: 4022: 4021: 4020: 4019: 4014: 4013: 4012: 4007: 4002: 4000:Chilote School 3992: 3990:Casta painting 3982: 3981: 3980: 3975: 3970: 3969: 3968: 3966:Tipos del PaĂ­s 3963: 3950: 3949: 3948: 3947: 3946: 3936: 3924: 3922: 3918: 3917: 3915: 3914: 3909: 3908: 3907: 3902: 3897: 3892: 3887: 3875: 3874: 3873: 3866: 3861: 3856: 3854:Louis XV style 3851: 3840: 3838: 3834: 3833: 3831: 3830: 3829: 3828: 3823: 3813: 3808: 3803: 3802: 3801: 3791: 3786: 3781: 3776: 3775: 3774: 3769: 3764: 3763: 3762: 3757: 3747: 3742: 3731: 3729: 3725: 3724: 3722: 3721: 3716: 3711: 3706: 3701: 3700: 3699: 3689: 3688: 3687: 3686: 3685: 3680: 3675: 3665: 3664: 3663: 3658: 3656:Cologne School 3648: 3643: 3638: 3637: 3636: 3621: 3620: 3619: 3618: 3617: 3609: 3604: 3599: 3589: 3588: 3587: 3582: 3577: 3567: 3566: 3565: 3558: 3553: 3537: 3535: 3529: 3528: 3526: 3525: 3524: 3523: 3516: 3511: 3509:Italian school 3500: 3495: 3494: 3493: 3491:Sienese School 3483: 3478: 3473: 3468: 3467: 3466: 3461: 3456: 3446: 3439: 3438: 3437: 3427: 3426: 3425: 3420: 3410: 3405: 3404: 3403: 3401:Pre-Romanesque 3398: 3393: 3383: 3382: 3381: 3376: 3371: 3366: 3356: 3351: 3350: 3349: 3337: 3332: 3330:Donor portrait 3327: 3326: 3325: 3320: 3315: 3310: 3305: 3295: 3294: 3293: 3283: 3282: 3281: 3270: 3268: 3262: 3261: 3259: 3258: 3257: 3256: 3251: 3246: 3241: 3239:Julio-Claudian 3236: 3231: 3221: 3216: 3211: 3206: 3201: 3200: 3199: 3198: 3197: 3192: 3191: 3190: 3188:Greco-Buddhist 3180: 3170: 3165: 3160: 3155: 3150: 3145: 3140: 3135: 3130: 3128:Protogeometric 3125: 3115: 3114: 3113: 3108: 3103: 3098: 3088: 3083: 3082: 3081: 3070: 3068: 3059: 3053: 3052: 3043: 3040: 3039: 3025: 3023: 3022: 3015: 3008: 3000: 2994: 2993: 2988: 2980: 2979:External links 2977: 2976: 2975: 2962: 2955: 2933: 2916: 2904: 2901: 2900: 2899: 2885: 2875: 2858: 2851: 2845: 2830: 2813: 2810:Early Medieval 2806: 2782:"Golden Age": 2780: 2766: 2752: 2731: 2711: 2708: 2706: 2705: 2696: 2680: 2671: 2662: 2653: 2644: 2635: 2623: 2614: 2601: 2592: 2583: 2570: 2568:Golden Age, 88 2561: 2552: 2543: 2534: 2525: 2516: 2489: 2480: 2471: 2462: 2458:V&A Museum 2450: 2424: 2415: 2406: 2397: 2388: 2379: 2370: 2354: 2350:British Museum 2342: 2333: 2324: 2315: 2306: 2297: 2288: 2279: 2270: 2261: 2252: 2243: 2234: 2225: 2216: 2203: 2194: 2185: 2176: 2167: 2158: 2149: 2140: 2131: 2122: 2113: 2103: 2101: 2098: 2097: 2096: 2091: 2086: 2081: 2076: 2071: 2066: 2058: 2057: 2055: 2054: 2047: 2040: 2032: 2029: 2028: 2027: 2026: 2021: 2016: 2008: 2007: 2003: 2002: 2001: 2000: 1999: 1998: 1988: 1983: 1978: 1973: 1965: 1964: 1960: 1959: 1958: 1957: 1952: 1947: 1942: 1937: 1932: 1927: 1919: 1918: 1914: 1913: 1912: 1911: 1906: 1901: 1893: 1892: 1888: 1887: 1886: 1885: 1880: 1875: 1867: 1866: 1860: 1859: 1851: 1850: 1842: 1841: 1834: 1831: 1827:Horns of Moses 1807:Mary Magdalene 1802:Last Judgement 1793:God the Father 1773:iconographical 1729: 1726: 1658: 1655: 1638:King Athelstan 1591: 1588: 1587: 1586: 1579: 1572: 1570: 1564: 1557: 1555: 1552: 1545: 1543: 1532: 1525: 1514:Life of Christ 1434: 1431: 1430: 1429: 1420: 1413: 1411: 1401: 1394: 1392: 1385: 1378: 1376: 1357: 1350: 1348: 1342: 1335: 1333: 1329:Gosforth Cross 1326: 1319: 1317: 1309:Ruthwell Cross 1306: 1299: 1297: 1291: 1284: 1165:Last Judgement 1157:Gosforth Cross 1119:Ruthwell Cross 1060: 1057: 1056: 1055: 1048: 1041: 1039: 1028: 1021: 1019: 1016: 1009: 1007: 1000: 993: 991: 981: 974: 903:Ædwen's brooch 884:Rupertus Cross 748:British Museum 660: 657: 656: 655: 648: 641: 639: 626: 619: 617: 607: 600: 598: 587: 580: 566:Beatus initial 562:Ramsey Psalter 558:Harley Psalter 494:Tower of Babel 467:Leningrad Bede 439:Alcuin of York 289: 286: 184: 181: 162:archaeological 15: 13: 10: 9: 6: 4: 3: 2: 6126: 6115: 6112: 6110: 6107: 6105: 6102: 6101: 6099: 6084: 6076: 6075: 6072: 6066: 6063: 6061: 6060: 6056: 6054: 6051: 6049: 6046: 6044: 6041: 6039: 6036: 6034: 6031: 6029: 6026: 6024: 6021: 6017: 6014: 6012: 6009: 6008: 6007: 6004: 6002: 5999: 5997: 5994: 5992: 5989: 5987: 5984: 5982: 5979: 5977: 5974: 5970: 5967: 5965: 5962: 5961: 5960: 5957: 5955: 5952: 5950: 5949:Fantastic art 5947: 5945: 5942: 5938: 5935: 5933: 5930: 5928: 5925: 5923: 5920: 5919: 5918: 5917:Christian art 5915: 5913: 5910: 5908: 5905: 5903: 5900: 5896: 5893: 5892: 5891: 5888: 5886: 5883: 5882: 5880: 5876: 5866: 5863: 5861: 5858: 5856: 5853: 5849: 5846: 5844: 5841: 5840: 5839: 5836: 5834: 5831: 5829: 5826: 5824: 5821: 5819: 5818:Skeuomorphism 5816: 5814: 5811: 5809: 5806: 5804: 5801: 5799: 5796: 5794: 5791: 5789: 5786: 5784: 5781: 5779: 5778:Massurrealism 5776: 5774: 5773:Lightpainting 5771: 5769: 5766: 5764: 5761: 5757: 5756:Post-Internet 5754: 5753: 5752: 5749: 5747: 5744: 5742: 5739: 5737: 5734: 5730: 5727: 5726: 5725: 5722: 5720: 5717: 5715: 5712: 5710: 5707: 5705: 5702: 5700: 5697: 5693: 5690: 5689: 5688: 5685: 5683: 5680: 5678: 5675: 5673: 5670: 5668: 5665: 5663: 5660: 5658: 5655: 5653: 5650: 5649: 5647: 5641: 5635: 5632: 5630: 5629:Grunge design 5627: 5625: 5622: 5620: 5617: 5615: 5612: 5610: 5607: 5605: 5602: 5600: 5597: 5595: 5592: 5590: 5587: 5585: 5584:Retrofuturism 5582: 5580: 5579:Scratch video 5577: 5575: 5572: 5570: 5567: 5565: 5564:Memphis Group 5562: 5560: 5557: 5555: 5552: 5550: 5547: 5545: 5542: 5540: 5539:Telematic art 5537: 5535: 5532: 5530: 5529:Guerrilla art 5527: 5525: 5522: 5518: 5515: 5514: 5513: 5510: 5508: 5505: 5503: 5500: 5498: 5495: 5491: 5488: 5487: 5486: 5483: 5481: 5480:Endurance art 5478: 5476: 5473: 5471: 5468: 5466: 5463: 5461: 5458: 5457: 5455: 5451: 5445: 5442: 5440: 5437: 5435: 5432: 5430: 5427: 5425: 5422: 5418: 5415: 5414: 5413: 5410: 5408: 5405: 5403: 5400: 5398: 5395: 5393: 5390: 5388: 5385: 5383: 5380: 5378: 5375: 5373: 5370: 5368: 5365: 5363: 5360: 5358: 5355: 5353: 5350: 5348: 5345: 5343: 5340: 5338: 5335: 5333: 5330: 5328: 5325: 5323: 5320: 5318: 5315: 5313: 5310: 5308: 5305: 5303: 5300: 5298: 5295: 5293: 5290: 5288: 5285: 5283: 5280: 5278: 5275: 5271: 5268: 5267: 5266: 5263: 5261: 5258: 5256: 5253: 5251: 5248: 5246: 5243: 5241: 5238: 5237: 5235: 5231: 5225: 5222: 5220: 5217: 5215: 5212: 5208: 5205: 5203: 5200: 5199: 5198: 5195: 5191: 5188: 5187: 5186: 5183: 5181: 5178: 5176: 5173: 5171: 5168: 5166: 5163: 5161: 5158: 5156: 5153: 5151: 5148: 5146: 5143: 5141: 5140:New media art 5138: 5134: 5131: 5130: 5129: 5126: 5124: 5121: 5119: 5118:Nanyang Style 5116: 5114: 5111: 5109: 5106: 5104: 5101: 5099: 5096: 5092: 5089: 5087: 5084: 5082: 5079: 5077: 5074: 5073: 5072: 5069: 5067: 5064: 5062: 5059: 5055: 5052: 5051: 5050: 5049:Visionary art 5047: 5043: 5040: 5039: 5038: 5035: 5033: 5030: 5029: 5027: 5023: 5020: 5016: 5011: 5007: 4997: 4994: 4992: 4989: 4987: 4984: 4982: 4979: 4975: 4972: 4971: 4970: 4967: 4965: 4962: 4958: 4955: 4953: 4950: 4949: 4948: 4945: 4941: 4938: 4937: 4936: 4933: 4931: 4928: 4926: 4923: 4921: 4918: 4916: 4915:Scuola Romana 4913: 4911: 4908: 4906: 4905: 4901: 4899: 4896: 4894: 4891: 4889: 4886: 4882: 4879: 4877: 4874: 4873: 4872: 4869: 4867: 4864: 4862: 4859: 4857: 4854: 4852: 4849: 4847: 4844: 4842: 4841:Anthropophagy 4839: 4837: 4834: 4830: 4827: 4826: 4825: 4824:Functionalism 4822: 4820: 4817: 4815: 4812: 4810: 4807: 4805: 4802: 4798: 4795: 4794: 4793: 4790: 4786: 4783: 4781: 4778: 4777: 4776: 4773: 4769: 4766: 4765: 4764: 4761: 4759: 4756: 4752: 4751: 4747: 4746: 4745: 4744:Neoplasticism 4742: 4740: 4737: 4735: 4732: 4726: 4723: 4722: 4721: 4718: 4717: 4716: 4713: 4711: 4708: 4706: 4703: 4701: 4698: 4696: 4693: 4692: 4690: 4686: 4680: 4677: 4675: 4672: 4670: 4667: 4665: 4662: 4660: 4657: 4655: 4652: 4648: 4647:Cubo-Futurism 4645: 4644: 4643: 4640: 4638: 4635: 4633: 4632: 4628: 4624: 4621: 4619: 4616: 4615: 4614: 4611: 4607: 4606:Ashcan School 4604: 4603: 4602: 4599: 4597: 4594: 4592: 4589: 4585: 4582: 4580: 4577: 4576: 4575: 4574:Expressionism 4572: 4570: 4567: 4565: 4562: 4560: 4559:Mir iskusstva 4557: 4555: 4552: 4548: 4545: 4543: 4540: 4538: 4535: 4533: 4530: 4529: 4528: 4525: 4523: 4520: 4518: 4515: 4513: 4510: 4506: 4503: 4502: 4501: 4498: 4497: 4495: 4491: 4485: 4482: 4478: 4475: 4474: 4473: 4470: 4466: 4463: 4461: 4458: 4456: 4453: 4451: 4448: 4446: 4443: 4441: 4438: 4434: 4431: 4430: 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4052: 4050: 4047: 4043: 4040: 4039: 4038: 4035: 4034: 4032: 4028:Art borrowing 4026: 4018: 4015: 4011: 4008: 4006: 4003: 4001: 3998: 3997: 3996: 3993: 3991: 3988: 3987: 3986: 3983: 3979: 3978:Company style 3976: 3974: 3971: 3967: 3964: 3962: 3959: 3958: 3957: 3954: 3953: 3951: 3945: 3942: 3941: 3940: 3937: 3935: 3932: 3931: 3930: 3926: 3925: 3923: 3919: 3913: 3910: 3906: 3903: 3901: 3898: 3896: 3893: 3891: 3888: 3886: 3885: 3881: 3880: 3879: 3878:Neoclassicism 3876: 3872: 3871: 3867: 3865: 3862: 3860: 3857: 3855: 3852: 3850: 3847: 3846: 3845: 3842: 3841: 3839: 3835: 3827: 3824: 3822: 3819: 3818: 3817: 3814: 3812: 3809: 3807: 3804: 3800: 3797: 3796: 3795: 3792: 3790: 3787: 3785: 3782: 3780: 3777: 3773: 3770: 3768: 3765: 3761: 3758: 3756: 3753: 3752: 3751: 3748: 3746: 3743: 3741: 3738: 3737: 3736: 3733: 3732: 3730: 3726: 3720: 3717: 3715: 3712: 3710: 3707: 3705: 3704:Cretan School 3702: 3698: 3695: 3694: 3693: 3690: 3684: 3681: 3679: 3676: 3674: 3671: 3670: 3669: 3666: 3662: 3661:Danube school 3659: 3657: 3654: 3653: 3652: 3649: 3647: 3644: 3642: 3639: 3635: 3632: 3631: 3630: 3627: 3626: 3625: 3622: 3616: 3615: 3610: 3608: 3605: 3603: 3600: 3598: 3595: 3594: 3593: 3590: 3586: 3583: 3581: 3578: 3576: 3573: 3572: 3571: 3568: 3564: 3563: 3559: 3557: 3554: 3552: 3549: 3548: 3547: 3544: 3543: 3542: 3539: 3538: 3536: 3534: 3530: 3522: 3521: 3517: 3515: 3512: 3510: 3507: 3506: 3505: 3501: 3499: 3496: 3492: 3489: 3488: 3487: 3484: 3482: 3479: 3477: 3474: 3472: 3469: 3465: 3462: 3460: 3457: 3455: 3452: 3451: 3450: 3447: 3445: 3444: 3440: 3436: 3433: 3432: 3431: 3428: 3424: 3421: 3419: 3416: 3415: 3414: 3411: 3409: 3406: 3402: 3399: 3397: 3394: 3392: 3389: 3388: 3387: 3384: 3380: 3377: 3375: 3372: 3370: 3367: 3365: 3362: 3361: 3360: 3357: 3355: 3352: 3348: 3347: 3343: 3342: 3341: 3338: 3336: 3333: 3331: 3328: 3324: 3321: 3319: 3316: 3314: 3311: 3309: 3306: 3304: 3301: 3300: 3299: 3296: 3292: 3289: 3288: 3287: 3284: 3280: 3277: 3276: 3275: 3272: 3271: 3269: 3267: 3263: 3255: 3252: 3250: 3247: 3245: 3242: 3240: 3237: 3235: 3232: 3230: 3227: 3226: 3225: 3222: 3220: 3217: 3215: 3212: 3210: 3207: 3205: 3202: 3196: 3193: 3189: 3186: 3185: 3184: 3181: 3179: 3176: 3175: 3174: 3171: 3169: 3166: 3164: 3161: 3159: 3156: 3154: 3151: 3149: 3146: 3144: 3141: 3139: 3138:Orientalizing 3136: 3134: 3131: 3129: 3126: 3124: 3123:Sub-Mycenaean 3121: 3120: 3119: 3116: 3112: 3109: 3107: 3104: 3102: 3099: 3097: 3094: 3093: 3092: 3089: 3087: 3084: 3080: 3077: 3076: 3075: 3072: 3071: 3069: 3067: 3063: 3060: 3054: 3050: 3046: 3041: 3037:art movements 3036: 3032: 3028: 3021: 3016: 3014: 3009: 3007: 3002: 3001: 2998: 2992: 2989: 2986: 2983: 2982: 2978: 2972: 2971: 2968: 2963: 2960: 2956: 2954: 2953:9781843836285 2950: 2946: 2942: 2938: 2934: 2932: 2931:9780714128092 2928: 2924: 2920: 2917: 2914: 2910: 2907: 2906: 2902: 2898: 2897:0-7287-0386-6 2894: 2890: 2886: 2883: 2879: 2876: 2874: 2870: 2866: 2862: 2859: 2856: 2852: 2848: 2842: 2838: 2837: 2831: 2829: 2828:0-19-929937-4 2825: 2821: 2819: 2814: 2811: 2807: 2805: 2804:0-7141-0532-5 2801: 2797: 2793: 2789: 2785: 2781: 2779: 2778:0-300-06493-4 2775: 2771: 2767: 2765: 2764:0-7190-0926-X 2761: 2757: 2753: 2738: 2734: 2732:1-86487-316-7 2728: 2721: 2720: 2714: 2713: 2709: 2700: 2697: 2694: 2690: 2684: 2681: 2675: 2672: 2666: 2663: 2657: 2654: 2648: 2645: 2639: 2636: 2633: 2627: 2624: 2618: 2615: 2611: 2605: 2602: 2596: 2593: 2587: 2584: 2580: 2574: 2571: 2565: 2562: 2556: 2553: 2547: 2544: 2538: 2535: 2529: 2526: 2523:Wilson, 80–81 2520: 2517: 2514: 2510: 2506: 2502: 2499: 2493: 2490: 2484: 2481: 2475: 2472: 2466: 2463: 2459: 2454: 2451: 2438: 2434: 2428: 2425: 2419: 2416: 2413:Wilson, 50–53 2410: 2407: 2401: 2398: 2392: 2389: 2383: 2380: 2374: 2371: 2367: 2363: 2358: 2355: 2351: 2346: 2343: 2337: 2334: 2328: 2325: 2319: 2316: 2310: 2307: 2301: 2298: 2292: 2289: 2283: 2280: 2274: 2271: 2265: 2262: 2256: 2253: 2247: 2244: 2238: 2235: 2229: 2226: 2220: 2217: 2213: 2212:La Tène style 2207: 2204: 2201:Wilson, 63–67 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1647: 1641: 1639: 1633: 1630: 1626: 1622: 1618: 1613: 1611: 1610: 1601: 1596: 1589: 1583: 1580:10th century 1576: 1571: 1567: 1561: 1556: 1549: 1544: 1540: 1536: 1535:Franks Casket 1529: 1524: 1522: 1520: 1519:West Midlands 1516: 1515: 1510: 1506: 1502: 1497: 1493: 1488: 1486: 1482: 1478: 1474: 1470: 1469:Franks Casket 1466: 1462: 1458: 1457:ivory carving 1450: 1449: 1444: 1439: 1433:Ivory carving 1432: 1427: 1423: 1422:Hogback tombs 1417: 1412: 1409: 1405: 1398: 1393: 1389: 1382: 1377: 1373: 1369: 1365: 1361: 1354: 1349: 1345: 1339: 1334: 1330: 1323: 1318: 1314: 1310: 1303: 1298: 1294: 1288: 1283: 1281: 1279: 1275: 1269: 1267: 1263: 1259: 1255: 1250: 1248: 1244: 1240: 1236: 1231: 1225: 1223: 1218: 1216: 1212: 1208: 1204: 1203:Jelling style 1200: 1196: 1192: 1183: 1178: 1174: 1172: 1171: 1166: 1162: 1158: 1154: 1148: 1146: 1145: 1140: 1136: 1132: 1131:Easby Crosses 1128: 1124: 1120: 1116: 1112: 1107: 1105: 1101: 1097: 1092: 1089: 1085: 1078: 1074: 1070: 1065: 1058: 1052: 1045: 1040: 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343: 339: 335: 331: 327: 323: 319: 311: 307: 303: 299: 294: 287: 285: 282: 276: 274: 270: 266: 262: 257: 252: 249: 245: 241: 237: 233: 229: 225: 221: 216: 214: 210: 206: 205:Hiberno-Saxon 202: 198: 189: 182: 180: 178: 175: 171: 167: 163: 159: 155: 151: 150:Fuller brooch 147: 143: 142:Franks Casket 140:(notably the 139: 135: 131: 127: 123: 118: 115: 110: 106: 102: 98: 94: 89: 87: 83: 79: 75: 71: 67: 63: 59: 55: 51: 47: 43: 35: 28: 23: 19: 6114:Medieval art 6059:Trompe-l'Ĺ“il 6057: 6028:Outsider art 5981:Illustration 5937:Lutheran art 5927:Catholic art 5890:Abstract art 5860:Unilalianism 5823:Software art 5798:Neosymbolism 5788:Neo-futurism 5751:Internet art 5741:Hyperrealism 5594:Superfiction 5377:Photorealism 5245:Afrofuturism 5010:Contemporary 4986:Dimensionism 4969:Concrete art 4902: 4898:Precisionism 4748: 4695:Sosaku-hanga 4669:Productivism 4659:Metaphysical 4629: 4618:Proto-Cubism 4522:Secessionism 4484:Costumbrismo 4369:Aestheticism 4320:Hague School 4300: 4224:Academic art 4205:Costumbrismo 4173:Empire style 4010:Quito School 4005:Cusco School 3921:Colonial art 3882: 3870:FĂŞte galante 3868: 3837:18th century 3799:Delft School 3750:Caravaggisti 3728:17th century 3613: 3570:Quattrocento 3560: 3518: 3441: 3344: 3302: 3274:Late antique 3158:Severe style 3148:Black-figure 3035:Contemporary 2970: 2967: 2958: 2936: 2922: 2912: 2888: 2881: 2864: 2854: 2835: 2816: 2809: 2795: 2788:Turner, D.H. 2769: 2755: 2744:. 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2507:from the 2443:2 October 1777:Hellmouth 1728:Aftermath 1473:whalebone 1459:and also 1443:tau cross 1368:interlace 1346:, Cumbria 1331:, Cumbria 1247:Ascension 1195:Norse art 1127:interlace 940:in 2019. 805:, in the 733:purse-lid 714:cloisonnĂ© 659:Metalwork 633:from the 611:from the 574:interlace 522:Æthelwold 510:Æthelstan 146:metalwork 138:whalebone 6083:Category 6033:Portrait 5954:Folk art 5902:Anti-art 5833:Stuckism 5746:Idea art 5667:Art game 5619:Artivism 5507:Punk art 5485:Sots Art 5470:Artscene 5327:Land art 5265:Neo-Dada 5197:Lettrism 5091:Nuagisme 5076:Tachisme 4957:Nazi art 4750:De Stijl 4664:Rayonism 4654:Art Deco 4642:Futurism 4433:Luminism 4401:Romanian 4386:Tonalism 4357:Canadian 4335:American 4241:Neo-Grec 3849:Rocaille 3678:Romanism 3612:Counter- 3546:Trecento 3486:Duecento 3476:Crusades 3408:Ottonian 3386:Frankish 3266:Medieval 3249:Trajanic 3209:Scythian 3204:Etruscan 3096:Cycladic 3074:Thracian 2794:, eds.; 2501:Archived 2024:Paganism 2006:Religion 1996:Military 1971:Charters 1955:Weaponry 1899:Language 1891:Language 1833:See also 1668:in glass 1170:Ragnarök 778:Goscelin 550:acanthus 530:Cuthbert 448:Salzburg 437:, where 376:Frankish 326:Germanic 183:Overview 6048:Realism 5645:present 5372:Nut Art 5175:Pop art 5113:Mono-ha 4981:The Ten 4930:Kapists 4876:Iranian 4829:Bauhaus 4623:Orphism 4569:Fauvism 4406:Russian 4296:Nihonga 4210:Verismo 4195:Realism 4129:Purismo 4042:Moorish 4037:Islamic 3944:Haitian 3735:Baroque 3614:Maniera 3498:MudĂ©jar 3423:Spanish 3335:Pictish 3318:Lombard 3313:Insular 3254:Severan 3219:Gaulish 3214:Iberian 3143:Archaic 3086:Nuragic 3066:Ancient 3049:periods 1991:Warfare 1883:History 1813:. The 1750:Baptism 1646:Maaseik 1505:boxwood 1445:, with 1266:Denmark 1258:Sigmund 1245:and an 1237:, from 1222:hogback 1161:Danelaw 1077:Cumbria 988:Suffolk 955:pennies 951:obverse 926:fibulae 831:there. 819:Dunstan 697:fibulae 637:, 970s. 590:Incipit 514:Dunstan 496:in the 452:Austria 351:In the 302:Incipit 273:Danelaw 170:Normans 166:Vikings 58:England 5996:Kitsch 5855:Toyism 5347:Fluxus 5277:Op art 4846:Mingei 4780:Stupid 4758:Purism 4613:Cubism 4262:Modern 4054:Mughal 3844:Rococo 3449:Gothic 3430:Norman 3354:Viking 3308:Hunnic 3286:Coptic 3101:Minoan 3091:Aegean 3079:Dacian 3031:Modern 2951:  2943:  2929:  2915:(2010) 2895:  2871:  2843:  2826:  2802:  2790:, and 2776:  2762:  2729:  1935:Burial 1864:People 1779:, the 1762:Gothic 1695:Enamel 1477:riddle 1465:walrus 1370:; see 1278:Alcuin 967:ceorle 878:, the 774:Norman 729:helmet 718:garnet 672:niello 526:Oswald 392:Mercia 322:Celtic 256:Viking 234:, and 213:Franks 201:Celtic 158:enamel 126:fresco 122:Norman 82:Wessex 70:Viking 5643:2000– 5086:COBRA 4080:Uki-e 4070:Japan 4059:Qajar 3418:Mosan 3224:Roman 3118:Greek 2740:(PDF) 2723:(PDF) 2100:Notes 1950:Glass 1945:Dress 1940:Coins 1909:Runes 1878:Women 1787:, St 1785:Moses 1718:gesso 1621:linen 1539:Titus 1481:runes 1075:) in 946:sceat 829:Prior 791:thegn 609:David 435:Tours 332:, at 246:from 154:glass 134:ivory 130:stone 101:ivory 5932:Icon 5255:ZERO 5013:and 4910:Asso 4734:Dada 4291:YĹŤga 3033:and 2949:ISBN 2941:ISBN 2927:ISBN 2893:ISBN 2869:ISBN 2841:ISBN 2824:ISBN 2800:ISBN 2774:ISBN 2760:ISBN 2748:2010 2727:ISBN 2498:here 2445:2010 1686:Gaul 1615:The 1494:and 1408:Kent 1372:here 1360:Eyam 1327:The 1307:The 1121:and 1067:The 1049:The 1029:The 1001:The 960:seax 742:The 708:and 627:The 588:The 540:The 388:Kent 361:Ezra 338:Iona 336:and 324:and 300:and 296:The 232:Iona 218:The 172:and 156:and 136:and 86:Kent 84:and 1981:Law 1930:Art 1487:. 1424:at 1406:in 1362:in 1189:by 1098:in 986:in 824:awl 383:. 230:on 215:. 152:), 144:), 56:of 6100:: 3029:, 2947:, 2921:, 2911:, 2880:; 2863:, 2786:, 2364:, 1537:; 1311:, 794:. 168:, 132:, 128:, 95:, 3047:/ 3019:e 3012:t 3005:v 2849:. 2750:. 2447:. 2214:. 2051:e 2044:t 2037:v 1602:. 1071:( 809:. 500:. 312:.

Index


Sutton Hoo

Anglo-Saxon
Migration period
Norman Conquest
England
northern Europe
Sutton Hoo
Viking
Romanesque
Northumbria
Wessex
Kent
illuminated manuscripts
Anglo-Saxon architecture
ivory
Opus Anglicanum
Bayeux Tapestry
English Reformation
Norman
fresco
stone
ivory
whalebone
Franks Casket
metalwork
Fuller brooch
glass
enamel

Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.

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