Byzantine Icons

Byzantine icon gallery for HIST 3373

Christ, unknown artist, 0600/0799, From the collection of: Benaki Museum of Greek Civilization
This painting representing Christ is part of an icon from Egypt created c. 600-799.  The original complete icon was estimated to be w360 x h140 cm, however, most of the icon was damaged and only w14xh36 cm remains.  It includes inscriptions in Greek script and is the only one in Greece representing the earliest phase of Byzantine icon-painting in the 7th-8th  century.
Saint Nicholas, Byzantine, 10th century (Medieval), From the collection of: The Walters Art Museum
This is a ceramic tile icon was created in the tenth century by a Byzantine artist and is approximately  w16.4 x h16.7 x d0.8 cm.  The place of origin is unknown, however, the ceramic tile is similar to ones made in Constantinople (present day Istanbul, Turkey).  More details: On the ceramic tile Saint Nicholas is shown raising his hand in blessing and holding the Gospels in his left hand which is covered as a sign of respect. This ceramic tile is one of the finest in the Walters collection, which includes over 1,000 fragments, the largest such group outside of Turkey. The tiles were most likely attached to a church wall as part of a frieze containing saint portraits and ornamented (non-iconic) pieces.
Evangelist Mark Seated in his Study, Byzantine, 1025-1050, From the collection of: The Walters Art Museum
This piece of art was created by a Byzantine artist c. 1025-1050 with ink and pigments on medium weight leaf parchments.  The place of origin is Constantinople (present day Istanbul, Turkey) and is approximately w19 x h27 cm.  More Details: The Evangelist Mark is depicted sitting at his desk, thinking. The pose replicates that commonly used in Antiquity to represent philosophers. The persistence of the ancient prototype is evident in the style of dress, which is rendered with fluid brushstrokes. Highlights pick up the play of light on the drapery folds, conveying a sense of the body underneath. On the other hand, any illusion of space is subverted by the uniform gold ground behind the Evangelist; the furniture is flattened out with no pretence of foreshortening or perspective rendering. The supernatural status of the saint is thus reaffirmed by the unreality of his surroundings.
Credits: All media
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