Prehistoric Painting and Romanesque Sculpture Analysis

Prehistoric Painting

Period

Prehistoric Art: 2.5 Million Years Ago to 800 BCE (Iron Age)

Paleolithic, Neolithic

Features

During this period, there were two types of art:

• Portable Art: Art which can be transported, such as amulets, rods, etc.
• Parietal (Wall) Rock Art: This art consists of paintings, carvings, or engravings.

The subject matter initially focused on animals, subsequently evolving to include hunting scenes with human representations. There were also scenes of ritual or magical significance.

The purpose of the paintings was not solely aesthetic pleasure; they were also considered a source of sympathetic magic to promote successful game hunting.

Materials Used: Earth colors, made from different pulverized minerals mixed with animal fat, egg, plant extracts, fish glue, and even blood.

The predominant colors are red, black, and beige.

Techniques Used: Included mouth-blown pipes of bone, fingers, or applying the paint dissolved in water with sticks and crude brushes made of strands of hair or moss.

Conditioning Elements

Weather conditions and scarce resources.

Contributions and Importance

Early artistic representations and techniques.

Romanesque Sculpture

Space-Time Situation

Between the 10th and 12th centuries.

Historical Context

A time of invaders, leading to the construction of defense fortresses and monasteries as shelters. The old regime was characterized by absolute monarchies, a self-sufficient economy, and a stratified society.

Conditioning Elements

Romanesque sculpture is deeply linked to the Church. It served to create a specific atmosphere within the churches.

Stone sculpture depended on the architecture, requiring adaptation to the surface it needed to cover. Romanesque sculptors had to adjust their figures to the proportions of the temple, allowing monumental sculpture to acquire and transmit great spirituality.

General Characteristics

Monumental sculpture became prominent. Its aim was to teach the faithful the way of salvation, which is why Romanesque reliefs often feature figures identified with sin.

The figures possess tremendous spirituality, and anatomy is relegated to the background as the garments dominate the body.

Sculptures are concentrated mainly on capitals, facades, and within the frames of the tympanum, jambs, and archivolts (e.g., Santiago de Compostela). Because the figures had to adapt to the available space, there are folded figures that are twisted, stretched, or reduced as a result of spatial constraints.

Materials used were usually limestone, granite, or marble (though there is doubt regarding St. Thomas), and sometimes wood or ivory.

The topography is flat, and scenes have low complexity. Drapery appears adjusted to the body, indicating fabric folds with simple, symmetrical, and parallel lines.

The human figure is schematized, spiritualized, and exhibits high static stiffness.