The J. Paul Getty Museum Presents “Art of Three Faiths: a Torah, a Bible, and a Qur’an”

LOS ANGELES – The J. Paul Getty Museum in Los Angeles, Ca (USA) recently announced the acquisition of the Rothschild Pentateuch, a manuscript of the first five books of the Hebrew Bible, known as the Torah. Its acquisition, coupled with works already in the Museum’s manuscripts collection, allows the Getty to represent the medieval art of illumination in sacred texts from the three Abrahamic religions—Judaism, Christianity, and Islam. Art of Three Faiths: A Torah, a Bible, and a Qur’an, on view August 7, 2018 through February 3, 2019, showcases three spectacular examples of each of these three: a Christian Bible and a Qur’an will be shown alongside the newly acquired Torah.

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Decorated Text Page (Book of Genesis) from the Rothschild
Pentateuch, France and/or Germany, 1296. Leaf: 10 7/8 x 8 1/4
in. (27.5 x 21 cm). Ms. 116 (2018.43), fol. 32v

            “This landmark acquisition fulfills one of the Museum’s longstanding goals of adding to our collection a Hebrew manuscript that can stand comparison in quality and importance to our finest illuminated manuscripts of other languages and faiths,” explains Timothy Potts, director of the J. Paul Getty Museum. “It has taken 35 years, but the Rothschild Pentateuch fills this gap more brilliantly than we could ever have imagined. An amazingly rare and beautiful object, richly illuminated with all manner of real and imaginary animals, it also broadens greatly the narratives we are able to tell about life, culture and religion in the Middle Ages. The acquisition will be a highlight of an upcoming exhibition that brings together – for the first time at the Getty – the sacred texts of the three Abrahamic religions, something that I am sure will deepen the experience of these works for many of our visitors, and be a rich subject of study for scholars.”

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Moses Addressing the Israelites (Book of Deuteronomy) from the
Rothschild Pentateuch. Joel ben Simeon, Italy, about 1450–
1500. Leaf: 10 7/8 x 8 1/4 in. (27.5 x 21 cm). Ms. 116
(2018.43), fol. 478

            Judaism, Christianity, and Islam trace their belief in the singular God to a common patriarch, the figure of Abraham. The practitioners of all three religions have been called “people of the book” for their shared belief in the importance of the divine word, rendered in medieval manuscripts in glowing gold and luminous colors on parchment.

            The Torah is the central sacred text of Judaism. In the strictest sense, the word refers to the Pentateuch, which contains the books of Moses: Genesis, Exodus, Leviticus, Numbers, and Deuteronomy. Illuminated copies of the Hebrew Bible in codex form, rather than Torah scrolls, began to appear in the mid-thirteenth century. In northern Europe, these manuscripts served the needs of members of the Ashkenazi Jewish community who had settled in the area along the Rhine River. Lavishly illustrated Hebrew manuscripts are exceedingly rare, since Jewish artisans were forbidden by law to join painting guilds. Hebrew manuscripts were often written by itinerant Jewish scribes and illuminated by local, sometimes Christian, artists. Illumination of the Hebrew Bible centers on the calligraphic forms of the letters, such as initials, word panels, or decorative frames around blocks of text.

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Menorah of the Tabernacle (Book of Leviticus) from the Rothschild Pentateuch, France and/or Germany, 1296. Leaf: 10 7/8 x 8 1/4 in. (27.5 x 21 cm). Ms. 116 (2018.43), fol. 226v

            ”The three objects on display are exceptionally beautiful artworks that we hope will spark meaningful dialogue among various audiences,” said Elizabeth Morrison, senior curator of Manuscripts at the Getty Museum. “Museums offer more than simply an aesthetic experience. Through exhibitions such as this one, they foster a deeper understanding of history that helps us to reflect on our own shared experiences.”

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Decorated Text Page (Book of Exodus) from the Rothschild Pentateuch, France and/or Germany, 1296. Leaf: 10 7/8 x 8 1/4 in. (27.5 x 21 cm). Ms. 116 (2018.43), fol. 119v

            Among the earliest bound and illuminated codices from the Mediterranean world are copies of the Christian Bible written in Greek, Latin, Syriac, Ge’ez, Armenian, and other languages. The first part of the Christian Bible consists of texts from the Hebrew Bible, referred to since the second century by Christian writers as the Old Testament. Medieval Christians understood it not only as a historical document but also as a body of prophecy that specifically foretold the coming of Christ. The New Testament comprises accounts of Christ’s life, the Gospels, letters to churches or individuals from his disciples, such as apostles Peter and Paul, and a text about the end of time known as Apocalypse or Revelation. Illuminated Bibles—handwritten and printed alike—are among the most enduring forms of Christian book art produced during the Middle Ages.

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Decorated Text Page (Book of Exodus) from the Rothschild Pentateuch, France and/or Germany, 1296. Leaf: 10 7/8 x 8 1/4 in. (27.5 x 21 cm). Ms. 116 (2018.43), fol. 130

            The words that the angel Jibril (Gabriel) recited to the prophet Muhammad ibn Abdullah, about 560-632, formed the sacred text of the Qur’an. The opening line, “In the name of Allah, most gracious, most merciful,” a central tenet of Islam that expresses submission to the will of Allah, is repeated in almost every surah or chapter. Muslims transmitted scripture through oral tradition for the first few centuries, and later recorded it through beautiful and ornate calligraphy. Artists incorporated Quranic verses into books, textiles, coins, ceramics, and architecture, demonstrating reverence for the written word. Throughout the Middle Ages, the Islamic word spanned a vast territory, from the Iberian Peninsula to northern and coastal Africa, across the Mediterranean basin, and as far as Central and Eastern Asia.

            Art of Three Faiths: A Torah, a Bible, and a Qur’an is curated by Kristen Collins, Bryan Keene, and Elizabeth Morrison, of the department of Manuscripts at the J. Paul Getty Museum. The exhibition will be on view August 7, 2018 through February 3, 2019.

Source: Official Pressrelease

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Medieval Monsters: Terrors, Aliens, Wonders showing at the Morgan’s

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Siren, from Abus du Monde (The Abuses of the World), France, Rouen, ca. 1510, The Morgan Library & Museum, MS M.42, fol. 15r.

Monsters captivated the imagination of medieval men and women, just as they continue to fascinate us today. Drawing on the Morgan’s superb collection of illuminated manuscripts, this major exhibition, the first of its kind in North America, will explore the complex social role of monsters in the Middle Ages. Medieval Monsters will lead visitors through three sections based on the ways monsters functioned in medieval societies. “Terrors” explores how monsters enhanced the aura of those in power, be they rulers, knights, or saints. A second section on “Aliens” demonstrates how marginalized groups in European societies—such as Jews, Muslims, women, the poor, and the disabled—were further alienated by being figured as monstrous. The final section, “Wonders”, considers a group of strange beauties and frightful anomalies that populated the medieval world. Whether employed in ornamental, entertaining, or contemplative settings, these fantastic beings were meant to inspire a sense of marvel and awe in their viewers.

 

Medieval Monsters: Terrors, Aliens, Wonders is generously supported by an anonymous gift in memory of Melvin R. Seiden, The Janine Luke and Melvin R. Seiden Fund for Exhibitions and Publications, the Andrew W. Mellon Research and Publications Fund, the National Endowment for the Arts, the Charles E. Pierce, Jr. Fund for Exhibitions, and Mrs. Alexandre P. Rosenberg.

Medieval Monsters: Terrors, Aliens, Wonders
June 8 through September 23, 2018

Info: http://www.themorgan.org

“Outcasts: Prejudice & Persecution in the Medieval World”: exhibit at The J. Paul Getty Museum, LA

LOS ANGELES – Medieval manuscripts preserve stories of faith, romance, and knowledge, but their luxurious illuminations can sometimes reveal hidden prejudices as well. Outcasts: Prejudice & Persecution in the Medieval World, on view January 30—April 8, 2018 at the J. Paul Getty Museum at the Getty Center, presents individual case studies that examine the way art, like language, was used to articulate a rhetoric of exclusion. Whether for reasons of race, class, gender, religious identity or sexual difference, medieval society was far more diverse than is commonly understood, but diversity did not necessarily ensure tolerance. Drawn from the Getty’s permanent collection of illuminated manuscripts, this exhibition explores the obstacles faced by those who were perceived as “others.” For today’s viewer, the vivid images and pervasive subtexts in illuminated manuscripts can serve as stark reminders of the power of rhetoric and the danger of prejudice.

The Crucifixion, probably 1170s. Tempera colors, gold leaf, silver leaf,
The Crucifixion, probably 1170s. Tempera colors, gold leaf, silver leaf, and ink on parchment. Leaf: 28.2 × 18.9 cm (11 1/8 × 7 7/16 in.). Credit: The J. Paul Getty Museum, Los Angeles, Ms. 64, fol. 86

“With their focus on religious subjects and tales of chivalry, it’s easy to forget that the pages of illuminated manuscripts frequently depicted social biases,” says Timothy Potts, director of the J. Paul Getty Museum. “Frequently, these works were a reflection of social norms and reinforced prejudices that were prevalent in society. In some cases these references may be subtle, in other cases not. In either case it is important to understand these works of art as also being social and historical documents that illuminate both the medieval past and the biases and prejudices that we still grapple with today.”

The exhibition begins with an illumination of the Crucifixion in the Getty’s Stammheim Missal, a masterpiece of Romanesque painting. The image is usually understood as a celebration of Christian belief, in which the sacrifice of Christ paved the way for the salvation of humanity, but this exhibition highlights the institutionalized anti-Semitism underlying Christian rhetoric about the old law and the new. Ecclesia, the personification of the Christian Church, is seen at Christ’s right, while the Jewish Synagoga appears on his left. Synagoga points at Christ, glaring, while holding a banderole (representing Old Testament law) that proclaims “cursed be he who hangs on the tree.” Below, two personifications echo and amplify the antithetical positions of these figures. In a roundel below Ecclesia, the fair-skinned Life gazes calmly across the composition at Death, who resembles contemporary (twelfth-century) caricatures of Jews with hooked noses and swarthy complexions.

“As repositories of history and memory, museums reveal much about our shared past, but all too often the stories told from luxury art objects focus on the elite,” explains Kristen Collins, curator of manuscripts and co-curator of the exhibition. “Typically created for the privileged classes, manuscripts can nevertheless provide glimpses of the marginalized and powerless and reflect their tenuous places in society.”

Some medieval writers and artists altered historical content to align with the prevailing morals of the day. Among Alexander the Great’s lovers was the young man Hephaiston and the eunuch Bagoas, but in one medieval manuscript Bagoas was recast as a beautiful woman called Bagoe in order (as the text says) to “avoid a bad example.” Even as a woman, however, Bagoe is still transgressive. In a fifteenth-century Flemish illumination, Bagoe wears luxurious flowing garments like those of the spear-carrying Amazon women in the background, who were renowned for their military prowess and heightened sexual drive. The literary and artistic interpretation of Bagoas/ Bagoe reveals the predominant prejudice against same-sex attraction and, by aligning her with the Amazons, the pervasive wariness toward powerful women.

Cis-gender women and Muslims often fared no better in the medieval world. The Merovingian queen Brunhilde, a powerful heroic figure who led armies and ruled over kingdoms, fell victim to the misogyny of later medieval authors who cast her as the archetypal “nasty woman.” In Giovanni Boccaccio’s story of The Death of Brunhilde, Queen of France (1413-15) he described Brunhilde as ruthless and vengeful, characterizations that were also applied to Saracens, a pejorative medieval term for Muslims. This parallel may explain the turbaned figures in the margins of this manuscript. In medieval art, the “Saracen” became a catch-all category of people to be feared.

Color conveyed a range of meanings in medieval art. Blackness not only signified race and ethnicity, but also symbolized the absence of light, and thus, God. Demons were often rendered in shades of black or dark browns and grays. In Initial Q: David Before Saul (after 1205), color appears to have been used in both ways. In a jealous rage, King Saul draws a sword on the young David. King Saul’s melancholic temperament is conveyed not only through his actions but also by the dark-skinned demon who resembles caricatured representations of Africans, Jews, and Muslims found elsewhere in the late twelfth and early thirteenth centuries, a period of extreme intolerance and violence.

According to Bryan C. Keene, assistant curator of manuscripts and co-curator of the exhibition, “This exhibition strives to make connections between the Middle Ages and the contemporary world, specifically in the way rhetoric is used to construct society’s ‘out groups.’ Attitudes toward Jews and Muslims, the poor, those perceived as sexual or gender deviants, and the foreign peoples beyond European borders can be discerned through caricature and polemical imagery, as well as through marks of erasure and censorship.”

In an attempt to respond to possible concerns from audiences, the exhibition curators also reached out through the Getty blog and Tumblr, inviting members of the public to comment on the exhibition text as it was being drafted. That ongoing conversation can be found on the Getty Iris.

Outcasts: Prejudice & Persecution in the Medieval World is curated by Kristen Collins, curator in the Manuscripts Department and Bryan C. Keene, assistant curator in the Manuscripts Department. The exhibition is on view at the J. Paul Getty Museum at the Getty Center from January 30 –April 8, 2018. Related programming includes “Sexuality, Sanctity, and Censorship: A Conversation with Artist Ron Athey,” a discussion about sexuality, gender identity, and censorship in relation to the exhibition and, “Anti-Semitism and Islamophobia in the Middle Ages and Today” a panel discussion featuring Sara Lipton, Hussein Fancy, and Jihad Turk.

Source: official Press release


OUTCASTS: PREJUDICE & PERSECUTION IN THE MEDIEVAL WORLD

January 30–April 18, 2018

at the J. Paul Getty Museum, Getty Center, Los Angeles, CA

North Pavilion, Plaza Level

Free | No ticket required

Info: www.getty.edu

The Hidden Gospels of Abba Garima, Treasures of the Ethiopian Highlands

garima-gospels[via Classics at Oxford] The Gospels of Abba Garima  have remained hidden for centuries in the Ethiopian highlands in the Abba Garima Monastery – which no woman may enter. According to tradition, God miraculously stopped the sun in the sky to allow Saint Abba Garima to complete them in a single day. Translated from Greek into Ethiopic, their production has remained an enigma. They are the earliest testament of the lost art of the Christian Aksumite kingdom of Ethiopia, which flourished around AD 350–650. Their vivid, finely painted illuminations are at once familiar but also entirely exotic, combining Ethiopian features with those seen elsewhere in Christendom. For the first time, a photo-exhibition in Oxford presents to the public all of the illuminated pages of these remarkable books, which are amongst the earliest and most important of the rare illustrated gospels books to have survived from Antiquity.

The three Garima Gospels, as the earliest surviving Ethiopian gospel books, are the earliest record of the translations of the Greek text of the four gospels into Ge‘ez, the language of the Ethiopian Church. They include the oldest extant set of portraits of the evangelists as frontispieces to their respective gospels, which became the norm in later illuminated gospel books. Like most gospel manuscripts, the Garima Gospels have ornately decorated “canon tables” which function as concordances of the different versions of the same material in the gospels. They also contain a unique image of the Jerusalem Temple, while an Alexandrian circular pavilion provides a missing link between pagan Hellenistic and Roman versions of the motif and later Christian ones. The Garima Gospels provide glimpses of lost late antique luxury gospel books and art in Ethiopia, as well as in the Christian East. Their artwork is closely related to Syriac, Armenian, Greek, and Georgian gospel books and to the art of late antique (“Coptic”) Egypt, Nubia, and Himyar (Yemen). The Garima texts and decoration demonstrate how a distinctive Christian culture developed in Aksumite Ethiopia, while also belonging to the mainstream late antique Mediterranean world.

The exhibition – extended to April 12 –  accompanies the publication of The Garima Gospels: Early Illuminated Gospel Books from Ethiopia, by Judith McKenzie, Francis Watson, Michael Gervers, et al., which places the Garima Gospels firmly within the historical and artistic contexts of the late antique Mediterranean world.

Organised by Judith McKenzie, Miranda Williams, and Foteini Spingou, with Michael Gervers’ photographs.

Sponsored by the Classics Faculty, the Oxford Centre for Byzantine Research, and the ERC Advanced Project, Monumental Art of the Christian and Early Islamic East, directed by Judith McKenzie.

Info: foteini.spingou@classics.ox.ac.uk ; miranda.williams@classics.ox.ac.uk
Contact phone: (01865) 2-88391.

Where: Outreach Room, Ground Floor, Ioannou Centre for Classical and Byzantine Studies, 66, St Giles’, Oxford OX1 3LU. Admission free.

When: Monday 16 January 2017 – Wednesday 12 April 2017
Monday to Friday, 9am to 5pm; but check availability before coming, due to teaching, phone: 01865 288391.

“Remembering Antiquity: The Ancient World Through Medieval Eyes” on Exhibit at Paul Getty Museum, LA

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Initial S: A Griffin and Rider, about 1240 – 1250. Creator unknown (German). Tempera colors, gold leaf, and silver leaf on parchment. Leaf: 22.7 x 15.7 cm (8 15/16 x 6 3/16 in.). The J. Paul Getty Museum, Los Angeles, Ms. Ludwig VIII 2, fol 76.

LOS ANGELES – The arts and culture of the Middle Ages were the inheritors of a rich classical tradition. For more than a millennium following the fall of Rome, antiquity was evoked and preserved through visual arts, ceremony, and manuscript culture. Remembering Antiquity: The Ancient World Through Medieval Eyes, on view January 24 through May 28 at the J. Paul Getty Museum, explores the constant and varied engagement of medieval people with the classical past.

“After the fall of the Roman Empire and the Christianization of Europe, many of the great works of Greek and Latin literature were copied by scribes in monasteries of centers of learning, preserving them for posterity and forming the foundation of medieval scholarship,” says Timothy Potts, director of the J. Paul Getty Museum. “While the rediscovery of Greco-Roman art and literature has come to be associated with the Renaissance in Italy from about 1400 through the 1500s, antiquity was in fact studied and commemorated throughout the preceding Middle Ages. In many ways the classical world never really died, but just receded under layers of subsequent culture. For authors and artists alike, the process of historical remembering in the centuries before the Renaissance often involved embellishment or invention, as stories of ancient rulers and mythological heroes were frequently employed and adapted for inclusion in Christian texts.”

Bringing together objects from the Getty Museum’s antiquities collection with works from the manuscripts collection, the exhibition is divided into three sections. Section one explores the fluidity of artistic forms across antiquity and the Middle Ages. The second focuses on the classical knowledge base that was preserved by and transmitted through the work of medieval scribes and artisans. The last section explores medieval understanding of, and approaches to, the past.

The Language of Forms
“Whether through quotation, emulation, transformation, or invention, the medieval world drew upon the classical, exploiting its expressive visual language,” explains Kristen Collins, co-curator of the exhibition. The styles and motifs of classical art provided a rich vocabulary for medieval artists and patrons. The formal characteristics of ancient Latin script were often employed to imbue religious texts with the authority of imperial Rome. Winged victories, as shown in Earrings with Nike (225-175 BC), were supernatural beings in ancient art. The personification of victory—known as Nike to the Greeks, Victoria to the Romans—was among the most frequently depicted, appearing in a variety of media and contexts. With the transition of the pagan world to the Christian, the goddess was adapted and transformed, into both an angel and a pagan idol. At times both depictions appear together in the same object.

Transmission of Knowledge
The study of medicine, drawn largely from classical sources, flourished in medieval universities. Latin translations of Greek and Arabic commentaries on other ancient medical texts shaped the discipline throughout the Middle Ages. Medieval physicians saw the body as a microcosm of the physical universe. Their practice sought to counteract imbalances in the four “humors” caused by natural phenomena such as the position of celestial bodies, the earth’s climate, and the ocean’s tides.

History and Invention
“During the Middle Ages, history was seen as the unfolding of God’s will over time, and great effort was made to align ancient historical accounts with the Bible,” says Kenneth Lapatin, co-curator of the exhibition. “Medieval authors mined classical texts, which were seen not only as essential documents of the past but also as ideal tools for learning the grammar and rhetoric of Latin.”

In their compendia of classical lore, medieval illuminators often updated the appearances and settings of ancient figures, representing them in contemporary costumes and architectural contexts. Such artistic devices blurred the lines between antiquity and the medieval present, demonstrating how people in the Middle Ages viewed their culture as an outgrowth of the Greco-Roman past. Within a single illuminated letter “P” (about 1300), Alexander the Great holds baited sticks as he is lifted heavenward by two griffins – ferocious composite creatures, part eagle and part lion. While the author of the accompanying text omitted this fantastical episode from the Alexander legend, the artist drew upon an established visual tradition.

Remembering Antiquity: The Ancient World Through Medieval Eyes will be on view January 24 –May 21, 2017, at the J. Paul Getty Museum. The exhibition is curated by Kristen Collins, curator of Manuscripts at the J. Paul Getty Museum, Kenneth Lapatin, curator of Antiquities at the J. Paul Getty Museum, and former curatorial assistant in Manuscripts, Rheagan Martin. Related programming will include gallery talks and more. Additional information can be found at getty.edu/360.

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The J. Paul Getty Trust is an international cultural and philanthropic institution devoted to the visual arts that includes the J. Paul Getty Museum, the Getty Research Institute, the Getty Conservation Institute, and the Getty Foundation. The J. Paul Getty Trust and Getty programs serve a varied audience from two locations: the Getty Center in Los Angeles and the Getty Villa in Pacific Palisades.

The J. Paul Getty Museum collects Greek and Roman antiquities, European paintings, drawings, manuscripts, sculpture and decorative arts to 1900, as well as photographs from around the world to the present day. The Museum’s mission is to display and interpret its collections, and present important loan exhibitions and publications for the enjoyment and education of visitors locally and internationally. This is supported by an active program of research, conservation, and public programs that seek to deepen our knowledge of and connection to works of art.

Visiting the Getty Center
The Getty Center is open Tuesday through Friday and Sunday from 10 a.m. to 5:30 p.m., and Saturday from 10 a.m. to 9 p.m. It is closed Mondays, and January 1, Thanksgiving Day and December 25. Admission to the Getty Center is always free. Parking is $15 per car, but reduced to $10 after 3 p.m. No reservation is required for parking or general admission. Reservations are required for event seating and groups of 15 or more. Please call (310) 440-7300 (English or Spanish) for reservations and information. The TTY line for callers who are deaf or hearing impaired is (310) 440-7305. The Getty Center is at 1200 Getty Center Drive, Los Angeles, California.

Same-day parking at both Museum locations (Getty Center and Getty Villa) is available for one fee through the Getty’s Pay Once, Park Twice program. Visit the Museum Information Desk at the Center or the Villa to obtain a coupon good for same-day complimentary parking at the other site.

Additional information is available at www.getty.edu.

Prado Museum announces first Exhibition on Master Mateo and his Work for the Cathedral of Santiago de Compostela

The Museo del Prado in Madrid, Spain is collaborating with the Real Academia Gallega de Bellas Artes and the Fundación Catedral de Santiago to present an exhibition on Master Mateo and his work for the cathedral of Santiago de Compostela. The exposition  “Master Mateo” will be running in Prado starting on November 29 to March 26, 2017.

For the first time, a selection of sculptures, normally housed in the Cathedral in Santiago outside the Porch of Glory  and in various other institutions and collections, brings together works by this artist that were part of now lost groups or from parts of the cathedral that no longer exist, such as its medieval façade and the stone choir that occupied the nave.

Master Mateo (c. 1150 – c. 1200 or c. 1217) was a sculptor and architect who worked in medieval Christian kingdoms of the Iberian Peninsula during the second half of the twelfth century. He is best known now for the Pórtico de la Gloria of the Cathedral of Santiago de Compostela. He was also responsible for the stone choir of the cathedral in 1200, later torn down in 1603.

The earliest information about the artist is from an 1168 document in the archives of the cathedral of Santiago, which says that the Master was already working on the Cathedral of Santiago de Compostela, for which he received a large sum of money from King Ferdinand II of León. Very little information remains about his early training, but everything seems to imply that he already had a long career behind him all along the Way of Santiago, especially in the French sections.

The natural sized sculptures highlights of the upcoming exposition are divided between public and private institutions: two of which can be found at the Pontevedra Provincial Museum, a further two at the Cathedral Foundation and another three are in the hands of private collectors. These pieces include David and Salomon, which can be seen on the Obradoiro façade; Abraham and Isaac, from a private collection; and Enoch and Elijah housed in the Pontevedra Museum, dating from 1188 and 1211.

Info: Museo del Prado website

“The Merovingian Age”, stunning exposition opening at the Cluny Museum in Paris

les-temps-merovingiens_xlPARIS – Reflecting Roman influences and distinguished by unprecedented forms of power, the start of the Middle Ages is marked by the development of original forms of expression which have often been overlooked. The exhibition The Merovingian Age, which will be shown at the Cluny Museum in Paris, France,  from October 26th 2016 to February 13th 2017 offers a lavish panorama of the artistic and intellectual productivity of this period of three centuries, beginning with the Battle of the Catalaunian Plains in 451 and culminating with the deposition of the last of the «Kings who did nothing» in 751.

More than 150 objects, sculptures, illuminated manuscripts, works of gold and silversmiths, coins, textiles and even charters have been brought together thanks to a partnership with the National Library of France. Many masterpieces from the Cabinet des Médailles are on show, including the remains of the treasure of King Childeric, the treasure of Gourdon and the famous throne of Dagobert. The Frankish kingdom was one of a multitude of new kingdoms loyal to an enduring imperial ideal inspired by Rome but influenced by Germanic and Anglo-Saxon practices.

expo_temps_merovingiens_cluny_gd

The spread of Christianity led to the development of new beliefs : the cult of relics, at the same time as some pagan traditions were incorporated into the liturgical rituals which emerged during this period. This profound originality reveals itself in the artistic production of the Merovingians, and in the wealth of materials and colors that are astonishing even today. The diversity of written forms demonstrates the intellectual expansion which enlivens monastic and episcopal centers, the creative sources where an erudite culture developed. Works of art such as the chasuble of Queen Bathilde, coins, or the charters of Frankish kings attest to the complexity of expressions of power, combining a classical heritage with innovative forms. Manuscripts of the VIIth and VIIIth centuries coming notably from the department of Manuscripts of the National Library of France, the libraries of Laon and Autun, the National Library of Russia, the Vatican Library, and the National Archives of France, are placed in a new dialogue with the collections of the Cluny Museum and the loans from the National Museum of Archaeology at Saint-Germain-en-Laye, the British Museum; the Museum of the art and history of the Jura at Delemont, and the Museum Alfred-Bonno at Chelles.


Info

Musée de Cluny – National Museum of the Middle Ages
6, place Paul Painlevé 75005 Paris
T. + 33 (0)1 53 73 78 16
musee-moyenage.fr

Days and hours of opening
Every day except Tuesday, from 9:15 am to 5:45 pm. Desk closes at 5:15 pm. Closed 1st January, 1st May and 25th December