06 Celtic, Saxon and Viking Art 550-900

06-01 Celtic, Saxon and Viking Art

06-01 Notes on Celtic, Saxon and Viking Art

06-01 A podcast produced by Google NotebookLM based on my lecture notes:

Celtic, Anglo-Saxon, and Viking Art

Overview:

This document summarises the key artistic periods and styles of the Celts, Anglo-Saxons, and Vikings, highlighting their distinct characteristics and the influences they exerted on one another in Britain and Europe. The source acknowledges the complexity of interweaving the history of these groups and the limitations in fully representing their artistic output due to the selective survival of artefacts. The document focuses primarily on art objects, noting the historical context where necessary.

Main Themes and Ideas:

  • Historical Context is Crucial: The presentation emphasizes that understanding the history of the Celts, Anglo-Saxons, and Vikings is essential for appreciating their art. As the author notes: “because of the complexity of the interwoven history of the Celts, the Anglo-Saxons kingdoms and the Vikings means I will have to explain some of the history.”
  • Selective Survival and Distorted View: The limited number of surviving artworks, especially compared to household and military objects, creates a “distorted view of what was produced.” The document acknowledges a focus on “complex decoration that has clearly taken time and skill to produce.”
  • Celtic Art:
  • Ornamental and Symbolic: Celtic art is characterised by its ornamental nature, avoidance of straight lines, symmetrical patterns, complex symbolism, and a departure from strict naturalism. “Typically, Celtic art is ornamental, avoids straight lines and the patterns are often symmetrical. It also often involves complex symbolism and avoids the strict imitation of nature which is central to the classical tradition.”
  • Periods:
  • Hallstatt Era (800-450 BCE): The roots of Celtic culture and art, marked by the development of unique styles and influences from other cultures. “Originating around 800 to 450 BCE, this period represents the roots of Celtic culture and art. It was during this time that the Celts developed their unique styles, influenced by the their interactions with other cultures”. Metalwork such as swords, brooches and decorated chariots flourished.
  • La Tène Period (450 BCE – 1st Century CE): The peak of Celtic artistic achievement, notable for swirling curvilinear patterns. “This period, from 450 BCE to the 1st century CE, is considered the prime period of Celtic artwork. It is characterised by swirling curvilinear patterns and represents the peak of Celtic artistic achievement.”
  • Insular Period (5th-12th Century CE): Practiced in Ireland and Scotland, lasting from the Roman withdrawal to the rise of Romanesque art. “Celtic art in the Middle Ages was practiced by the peoples of Ireland and Scotland in the 700-year period from the Roman withdrawal from Britain in the 5th century, to the establishment of Romanesque art in the 12th century.”
  • Late La Tène/Romano-British Period: A transitional phase influenced by Roman art, especially in southern Britain.
  • Geographic Origins and Spread: The Celts originated in central Europe around 1200 BCE and expanded across Europe, influencing regional styles through trade.
  • Examples: The document references objects like the Strettweg cult wagon (representing possible sacrificial practices), the Warrior of Hirschlanden (oldest life-size human statue north of the Alps), the Mšecké Žehrovice Head (limestone bust of a Celtic warrior), and intricate torcs (neck rings).
  • Anglo-Saxon Art:
  • Germanic Origins and Settlement: The Anglo-Saxons, Germanic peoples who settled in England from the 5th century onwards, developed an art style represented by metalwork (Sutton Hoo) and illuminated manuscripts (Lindisfarne Gospels). “The Anglo-Saxons were Germanic people who settled in England during the 5th century onwards. They spoke Old English and their art is best represented by the metalwork and jewellery from Sutton Hoo and a series of magnificent illuminated manuscripts”.
  • Influence: Similar to Celtic art but sometimes incorporating naturalistic bodies and plant forms.
  • Heptarchy: The Anglo-Saxon kingdoms of Northumbria, Mercia, Wessex, Kent, East Anglia, Essex and Sussex were eventually united to form the Kingdom of England.
  • Key Artefacts:
  • Great Square-Headed Brooch from Chessell Down: A complex and exquisitely crafted brooch with Scandinavian influences.
  • Lindisfarne Gospels: An illuminated manuscript combining Mediterranean, Anglo-Saxon, and Celtic elements.
  • Book of Kells: A lavishly decorated manuscript from a Columban monastery.
  • Sutton Hoo Burial: Ship burial containing significant treasures, including a helmet and gold accessories, reflecting a sophisticated society with international connections.
  • Staffordshire Hoard: The largest hoard of Anglo-Saxon gold and silver metalwork found to date, primarily consisting of military items.
  • Ruthwell and Bewcastle Crosses: Stone crosses representing the greatest achievements of their date in Europe.
  • Alfred Jewel: A unique piece of Anglo-Saxon goldsmithing believed to be the handle of a pointer stick for reading.
  • Viking Art (Norse Art):
  • Scandinavian Origins and Expansion: Viking art emerged from Scandinavia and interacted with Celtic and Anglo-Saxon traditions when Vikings settled in England (8th-11th centuries). “Viking art, also called Norse art, came from Scandinavia and when the Vikings settled in England between the 8th and 11th centuries it interacted with the existing Celtic and Anglo-Saxon artistic traditions.”
  • Materials: While wood was likely the primary medium, most surviving examples are metal objects.
  • Characteristics: Intricate interlacing patterns, knot-work, and symbolic animal forms.
  • Art Styles: Six main art styles are identified: Oseberg, Borre, Jelling, Mammen, Ringerike, and Urnes.
  • Danelaw: Characterised by a blend of Danish and Anglo-Saxon customs and laws.
  • Key Artefacts and Concepts:Oseberg Animal Head Post: Wooden post found in a ship burial.
  • Borre Style Brooch: Cast silver brooch.
  • Valkyrie Figurines: Small silver figures.
  • Jelling Cup: A silver cup with intertwined animal decorations.
  • Mammen Axe: A silver-inlaid axe with intertwined animal and plant elements.
  • Cammin Casket: A destroyed but important example of the Mammen style.
  • Runestones: Memorial stones with inscriptions in runes.
  • Pitney Disc-Brooch: A metalwork brooch in the Urnes style.
  • Bell Shrine of St. Patrick: A reliquary with Viking-inspired elements.
  • Interaction and Influence: The art of these cultures demonstrates considerable interaction and mutual influence, particularly between Celtic and Anglo-Saxon styles (Insular art) and later between Viking and Anglo-Saxon traditions. “It combines Mediterranean, Anglo-Saxon and Celtic elements.”
  • Transition to Romanesque: The Viking Age ended with the introduction of European-style monarchy and the rise of Romanesque art, characterized by rounded arches, barrel vaulting, and specific decorative motifs. The source notes, “Romanesque architecture can be recognised by its rounded arches, barrel vaulting, apses and chevron and acanthus-leaf decoration”. Durham Cathedral is cited as a prime example of English Romanesque architecture.
  • Norman Conquest: The Norman Conquest in 1066 marked a significant cultural shift in England, as depicted in the Bayeux Tapestry.

Key Quotes:

  • “Despite the large number of household and military objects found there a few art works surviving from this period and so we have a distorted view of what was produced.”
  • “Typically, Celtic art is ornamental, avoids straight lines and the patterns are often symmetrical.”
  • “The Anglo-Saxons were Germanic people who settled in England during the 5th century onwards. They spoke Old English and their art is best represented by the metalwork and jewellery from Sutton Hoo and a series of magnificent illuminated manuscripts.”
  • “Viking art, also called Norse art, came from Scandinavia and when the Vikings settled in England between the 8th and 11th centuries it interacted with the existing Celtic and Anglo-Saxon artistic traditions.”
  • “Alfred ordered me made”. (Inscription on Alfred Jewel)