Author: Derek Hull
Publisher: Liverpool University Press
Release Date: 2003-01-01
Much of early medieval Celtic and Anglo-Saxon art is based on the display of motifs – key, interlacing, spiral and zoomorphic – in well-defined panels in simple and complex arrays. A study of the arrangement of the panels and the fine detail of the motifs indicates that the artists relied on geometric methods and principles first used by Egyptians and Greeks. This book reflects Derek Hull’s life-long interest in interpreting the exciting and exotic patterns revealed by scientific studies using light and electron microscopes. His interest in Celtic and Anglo-Saxon art started with a casual observation of an interlacing pattern on an early medieval stone cross set in a churchyard. There followed many years of exploration of art in metal, stone and vellum from all parts of the British Isles and Ireland, resulting in some fascinating discoveries. Celtic and Anglo-Saxon Art reveals new and intriguing facets of these works that add to our appreciation of the beauty of the art and the skills of the artists. "This is a book for lovers of Celtic art, design and calligraphy, and will both delight and captivate... A must-have for both the cognoscenti and enthusiasts of Celtic religious art."—Cambria
This is the first new introduction to Anglo-Saxon art in twenty-five years and the first book to take account of the 2009 discovery of the Staffordshire Hoard—the largest cache of Anglo-Saxon gold and silver metalwork yet found. Written by one of the leading scholars in the field and illustrated with many of the most impressive artifacts, it will be the authoritative book on the subject for years to come. The Anglo-Saxon period in England, roughly A.D. 400–1100, was a time of extraordinary and profound cultural transformation, culminating in a dramatic shift from a barbarian society to a recognizably medieval civilization. Settled by northern European tribal groupings of pagan and illiterate warriors and farmers in the fifth century, England had by the eleventh century acquired all the trappings of medieval statehood—a developed urban network and complex economy, a carefully regulated coinage, flourishing centers of religion and learning, a vigorous literary tradition, and a remarkable and highly influential artistic heritage that had significant impact far beyond England itself. This book traces the changing nature of that art, the different roles it played in culture, and the various ways it both reflected and influenced the context in which it was created. From its first manifestations in the metalwork and ceramics of the early settlers, Anglo-Saxon art displays certain inherent and highly distinctive stylistic and iconographic features. Despite the many new influences that were regularly absorbed and adapted by Anglo-Saxon artists and craftsmen, these characteristics continued to resonate through the centuries in the great manuscripts, ivories, metalwork, and sculpture of this inventive and creative culture. Anglo-Saxon Art—which features 150 color and black-and-white illustrations—is arranged thematically while following a broadly chronological sequence. An introduction highlights the character of Anglo-Saxon art, its leitmotifs, and its underlying continuities. Leslie Webster places this art firmly in its wider cultural and political context while also examining the significant conceptual relationship between the visual and literary art of the period.
Author: Stephen Pollington
Release Date: 2010
In all the metalwork and archaeological oddments we have from the Anglo-Saxon period, is there anything one could call 'art'? The contributors to this book believe that not only was there considerable artistry in the output of early Anglo-Saxon workshops, but that it was vigorous, complex and technically challenging. The designs found on Anglo-Saxon artifacts is never mere ornament. In a society which used visual and verbal signals to demonstrate power, authority, status and ethnicity, no visual statement was ever empty of meaning. The aim of this work is to prompt a better understanding of Anglo-Saxon art and the society which produced it. Stephen Pollington, Lindsay Kerr and Brett Hammond have assembled in these pages much information and many previously unpublished illustrations which show a wide variety of artifacts, designs and motifs. It is hoped that this will help bring about a wider knowledge and appreciation of Anglo-Saxon art.
Author: J. O. Westwood
Publisher: Courier Corporation
Release Date: 2008-06-11
Compiled from brilliant illuminated manuscripts such as The Book of Kells, this collection spotlights the Christian iconography of ancient Britain. These colorful ornaments date from the Roman occupation through the Norman conquest. Abounding in intertwined lacings, abstract animal figures, meticulously drawn letters, winding scrolls of foliate designs, and uniquely solemn religious imagery, they offer a wondrous variety of ancient ornamental artwork.
Hephaestus Books represents a new publishing paradigm, allowing disparate content sources to be curated into cohesive, relevant, and informative books. To date, this content has been curated from Wikipedia articles and images under Creative Commons licensing, although as Hephaestus Books continues to increase in scope and dimension, more licensed and public domain content is being added. We believe books such as this represent a new and exciting lexicon in the sharing of human knowledge. This particular book is a collaboration focused on Anglo-Saxon art.More info: Shoulder-clasps from [[Sutton Hoo]], early 7th century Anglo-Saxon art covers art produced within the Anglo-Saxon period of English history, beginning with the Migration period style that the Anglo-Saxons brought with them from the continent in the 5th century, and ending in 1066 with the Norman Conquest of a large Anglo-Saxon nation-state whose sophisticated art was influential in much of northern Europe. The two periods of outstanding achievement were the 7th and 8th centuries, with the metalwork and jewellery from Sutton Hoo 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 Viking invasions. By the time of the Conquest the move to the Romanesque style is nearly complete. The important artistic centres, in so far as these can be established, were concentrated in the extremities of England, in Northumbria, especially in the early period, and Wessex and Kent near the south coast.