The Art Institute of Chicago is one of the largest art museums in the world, with thousands of varying pieces. Since its opening in 1879, the collection holds artwork spanning multiple centuries. Though the museum houses a large number of pieces that derived from the Impressionism movement, the collection of medieval artworks is just as marvelous. Many aren’t as known as other art pieces from the period. Five stars of the Art Institute’s medieval collection will be discussed and analyzed, specifically, those deriving from Europe.
Anonymous, Diptych of the Virgin and Child Enthroned and the Crucifixion, tempera on panel, Italy ca. 1275-1280, Art Institute, Chicago.
This diptych originated around the Mediterranean region, specifically Italy. It is believed to be utilized for private devotion by an individual in the Latin Kingdom, established in Jerusalem during the Crusades. This piece is extremely interesting due to its numerous details. The artistic style and techniques are accompanied by the use of both Greek and Latin inscriptions, backing up the determined place of creation. It also portrays a mixture of cultures arriving from the Western and Eastern areas of the world. The creator of the piece is unknown, but it is thought to be made by a craftsman in the coastal city of Arce in Lazio, Italy. This was the capital of an important crusader kingdom in the mid-late 13th century. The diptych also radiates the past influence of Byzantine styles, which had a major influence on painting in the later years of Europe’s development, including France and Italy. On the left, one can see the Virgin seated on a throne, with Jesus sitting comfortably on her lap. Two glorious angels can be seen admiring both in the top corners. The mixture of gold and red creates an aura of religious passion. On the right, the Crucifixion can be seen with two similar angels in the corners. Mary can be seen mourning the death of her only son. This piece not only portrays the power of religion during the period but the importance of early artwork in Europe.
Nicholas of Verdun, Plaque with a Bishop, Gilt copper with champlevé enamel, Germany ca. 1175-1225, Art Institute, Chicago.
One of the greatest pieces displaying medieval enameling in the museum’s collection is this plaque. It is believed that this piece was not created individually, but with a reliquary shrine. This is a portion of the arch. Placed upon the plaque, a bishop stands, wearing flowing clothing that reaches to his ankles. Its purified style led scholars to compare the plaque shown above and the well-known Klosterneuburg retable. This was created by Nicholas of Verdun, an artist in 1181. The true individual shown in the plaque is unknown, but it was suggested that it is Archbishop Bruno of Cologne, who lived from 921 to 965. The model held by the bishop is believed to be the Church of Saint Pantaleon in the same city. Though this piece is shrouded in mystery, it is at least known as an extraordinary example of goldsmith works.
Anonymous, Reliquary Casket, gilt copper, champlevé enamel over a wood core of the piece, France ca. 1190-1210, Art Institute, Chicago.
The reliquary casket shown above is covered with vibrant colors which differ from the pieces created outside of France during the Middle Ages. Caskets very similar to these were created in workshops around the Limoges region in France. As the end of the 12th century arrived, opus lemovicense, better known as Limoges work, had spread internationally, giving the area an impressive reputation. Sources from the period indicate that the use of enamel and gemstones were precious. Six saints are seen on the front area of the casket, which one singular saint is seen standing on each end panel. The design of this casket made it appropriate for any church to utilize and even allowed the casket to hold sacred relics of any saint.
Anonymous, Altar Cross, silver gilt over wooden base; the foot is copper gilt, Germany ca. 1320-1330, Art Institute, Chicago.
This Braunschweig silver-gilt cross had much meaning in church services during the Middle Ages. The figure of Christ was meant to be placed on an altar for worship. Each point of the cross ended with a roundel, paired with the marks of the four primary Evangelists. This includes the lion for Saint Mark, the angel for Saint Matthew, the eagle for Saint John, and the ox for Saint Luke. The four symbols cast upon the cross from the molds are similar to those that decorated book covers, which were mostly silver. These specific symbols were implicated in the creation of a liturgical manuscript written in the early 14th century. This specific book calls the Kunstgewerbemuseum in Berlin home. The popularity of the molds provides vital historical context on how items such as these were created, specifically the workshop under the patronage of Otto the Mild, ruling from 1318 to 1346. The aesthetic value of this piece is extraordinary and the history it holds is even higher.
Anonymous, Triptych with Scenes from the Life of Christ, ivory with slight amounts of gold, Germany ca. 1350-1375, Art Institute, Chicago.
Ivory had many uses in the Gothic era of art creation. Most commonly, devotional objects and relics would be created for churches and devotion. This triptych features intricate scenes from the infancy and Passion of Christ. The story is told in chronological order from the left to right, starting at the Annunciation and the Adoration of the Magi. As the bottom portion of the story concludes, it continues with the Road of Calvary. In the main middle portion of the triptych, the Crucifixion can be viewed. The last scene is the meeting of Mary Magdalen and Christ following the resurrection. Objects such as these would be kept on tables or cabinets in a bedroom, which would prompt prayer. It was also common for a Book of Hours to be near as well. The interactive wings and size of the triptych made it easier for storage and the ability to travel to other areas. Ivory carvings have been thought to have their popularity in Paris, but recent discoveries found that the carvings were just as popular in other areas of Europe, like Germany, England, and Italy. This supports the idea that this was a popular medium of art. The triptych’s creator is unknown but is thought to be an artist and his atelier while in Germany, most likely Cologne. The creation of this triptych has influenced many well-known pieces of ivory-centered art.
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