Visits- Slaves of Fashion-The Singh Twins-Liverpool Walker Art Gallery.

Back in April I visited The Walker Art Gallery to see Slaves of Fashion: New Works by The Singh Twins. I hadn’t seen their work before but it was advertised on North West Tonight and I was transfixed by the colours so off I went.

From The Walker Art Gallery website;

‘Slaves of Fashion: New Works by The Singh Twins. explored the history of Indian textiles, Empire, enslavement and luxury consumerism, and the contemporary relevance of these issues in the world today.

Focusing on the relationship between Britain and India, hidden details of Europe’s colonial past and its legacies were uncovered, including current debates around ethical trade and responsible consumerism.  

The exhibition showcased almost 20 new artworks by the internationally renowned artists. Primarily known for their entirely hand-painted work in the Indian miniature tradition, The Singh Twins’ new work combined traditional hand-painting techniques with digitally created imagery. The series included 11 digital fabric artworks displayed on light boxes, with each one highlighting a different theme relating to India’s textile industry. A further nine paper artworks explored the relationship between trade, conflict and consumerism in an age of Empire and the modern-day.

Also included in the exhibition were 40 highlights from over 100 objects across National Museums Liverpool’s collection, which inspired the exhibition.

This exhibition was a collaboration between National Museums Liverpool, The Singh Twins and Professor Kate Marsh, University of Liverpool.’

http://www.liverpoolmuseums.org.uk/walker/exhibitions/slaves-of-fashion/index.aspx-accessed 14th July 2018.

 

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The panels were illuminated by light boxes on the wall and the colours were so vibrant and intricate it took a lot of looking to spot everything.

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Ancient Roots- The wonder that was India-The Singh Twins 2017.

This figure in the piece is Hatshepsut, Queen of Egypt. This female pharaoh was ruler of Egypt for 22 years. The mythology of cotton throughout the centuries I found very interesting. There is a book called ‘The Book of Marvels and Travels of Sir John Mandeville’ which was written in the 14th century. It says that cotton was an unknown item to Europeans and at this time people thought that lambs grew on a tree called the ‘magical cotton tree’ and that they were the making and source of cotton. I quite like this story. As if each time the tree flowers a little lamb jumps down and goes and has something to eat.

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Cotton plant as imagined and drawn by John Mandeville.

https://en.wikipedia.org/wiki/John_Mandeville– accessed 14th July 2018.

“There grew there [India] a wonderful tree which bore tiny lambs on the endes of its branches. These branches were so pliable that they bent down to allow the lambs to feed when they are hungrie.”.

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Coromandel- Sugar and Spice, Not so Nice-The Singh Twins 2017.

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Chintz-The Price of Luxury-The Singh Twins 2017.

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The Colossus of Woes. The Singh Twins-2017.

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Partition politics : Business as usual. The Singh Twins 2017.

Partition and the British Empire was a big theme throughout the exhibition and also the way cotton and fabric has been used and traded over time. It was fascinating to read about as I will be honest I know very little about it except for things I have seen on television or read in history books. Once I had got home I read up some more and THIS is very interesting from The Singh Twins talking about appropriation of British and Asian culture within the UK and THIS series from the BBC about the last days before partition  is also very good.

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‘Iris’ From Georg Dionysius Ehrets Deliciae Botanicae-1732.

Georg Ehret was one of the finest botanical artists of 18th century Europe. His book of flower paintings inspired The Singh Twins who researched the meaning of flowers throughout the Slaves of Fashion series.

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The exhibition has now finished at The Walker Art Gallery but you still see it at Wolverhampton Art Gallery from the 21st July -16th September 2018.

You can read the following links below to find out lots more or click on any highlighted throughout.

The Singh Twins website- https://www.singhtwins.co.uk/index.html

About the exhibition- https://youtu.be/2x-Yug0TIWs

Review from Art In Liverpool- http://www.artinliverpool.com/singh-twins-new-work/

The Singh Twins favourite piece in the exhibition – https://youtu.be/4xwIX4u6RMc

All links accessed between 14th and 16th July 2018.

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Research- What is Renaissance and Rococo art?

YouTube is my very best friend and typing in the exact title of this post gave me this lovely gem. I think I am starting to understand a little bit more.

Also a very interesting programme about the European Renaissance being more important than the Italian and has some good Van Eyck action.

Also this which has nothing to do with what I am researching but it is still nice. Maybe I could look into Rococo art that contains birds?

History of Art 1- Part 3- Renaissance to Rococo.

So after a month of visiting various places, reflecting on my last assignment and trying to get into some sort of swing again, I have found out that I have visited all of the wrong places. In the past month I have visited Gardens, Museums, galleries and beaches but zero country houses or mythological paintings. I could go back into the depths of time and try to recreate places I have visited previously but they would be irrelevant to now and not what I need to see.

I suppose I am not having a great time with this third part. The constant note taking and reading and then trying to digest it into a readable and full note taking experience isn’t something it seems I am very good at.

I pick out the pieces that I think are relevant or that catch my eye but from my tutors feedback, I am not doing enough and I should be writing a lot more in my notes and then team that with everything else I have read and learned.

I don’t really understand, as if it is note taking then you pick out the relevant bits to you and comment or write them down, which then you would build upon later.

Linking everything together from previous notes and assignments is proving more difficult that I thought as I am always unsure of how they do link with one another. Maybe I should learn to summarise better.

To start with I took a virtual tour with The National Gallery of Renaissance Paintings they have in their collection, you can see it as well by clicking this link- https://www.nationalgallery.org.uk/paintings/renaissance-tour– accessed 16th May 2018.

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Portrait of a Lady (‘La Schiavona’)

about 1510-12, Titian

Downloaded under Creative Commons license from The National Gallery.

 

Visits-Pallant House Gallery Chichester.

Back in October of last year, I visited Pallant House Gallery in Chichester to see the Bomberg exhibition.

Here is some information from their website;

‘Pallant House Gallery opened in its present incarnation to national critical acclaim in July 2006. The remarkable £8.6 million build project, which took nearly three years to complete, seamlessly married the original Queen Anne, grade I listed town-house and the new wing, quadrupling Pallant House Gallery’s exhibition space.’

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I understand if you are reading this that the Bomberg exhibition finished in February but still I suppose you can have a look at the other nice things that I saw.

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So firstly here is the gallery stairwell decorated with a piece called ‘Composition for a staircase’ by Lothar Gotz.  I enjoyed it and I liked how the walls changed the colours with the sunlight and also you were allowed to take pictures by it and then put them on Instagram. I believe it is ‘highly grammable’  Considering when I arrived I asked if I could take photos of the exhibits for my course and was given a map with crosses on which meant no, no and no, I was sad that this was to be the antithesis of my photo taking day but still it is a good site specific art piece.

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It even had its own #STAIRWELLSELFIE hashtag.

Pablo Bronstein, Wall Pomp. 18th Century stairwell until the 18th September 2018.

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‘An ambitious installation by Pablo Bronstein is the latest contemporary intervention in the Gallery’s 18th century townhouse. Reflecting his enduring fascination with architecture, Bronstein has created a wallpaper featuring monumental sculptures that disrupt the sense of history and space of the house, whilst providing a bold response to its past domesticity.’

http://pallant.org.uk/exhibitions/exhibitions/pablo-bronstein-wall-pomp– Accessed 16th April 2018.

I really liked this installation and it was both overpowering and fascinating with the colours and shapes of the patterns used. I would very much like this wallpaper in my house and I would say when people asked what it was “Oh, it is just my wall pomp”.

Barbara Hepworth, Single Form, Nocturne, 1968.

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Fernand Leger, L’Engrenage Rouge, The Red Gear, 1939.Oil on canvas.

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I liked this image as it reminded me of a child’s drawing and I liked the blue and the red together. The shapes and the detail of the various parts and the greens. I thought it looked more like a red monster rising out of somewhere but with it being called The Red Gear, well yes I suppose it does look industrial. I hadn’t heard of this artist before and with a further look there is a retrospective of his work in Tate Liverpool this November so I will go and have a look at that.

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Lucien Freud, Portrait of a girl, 1950, oil on copper. 

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I always like to see a Freud if there is one about and I don’t know really, I like the style of his portraits and the way the faces are full of character. The bleached out colours and the sometimes stark backgrounds he uses in his paintings always makes me study them more. There is some more information about the David Dawson- Working with Lucien Freud exhibition at Pallant House in 2012 HERE.

Susie MacMurray, After ‘Shell’, 2008.

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I really liked this piece, mainly as the shells looked so grandiose but also the textures of the shells mixed with the velvet inserts. I collect shells and I had big ideas of doing this to all of mine when I got home, which was quickly quashed as I do not have any velvet and all of my shells are in jars out the way. In 2006 over 20,000 shells were displayed on the walls of the stairwell in Pallant House. You can see HERE.

Nigel Henderson, ICA Exhibition poster for Nigel Henderson;Recent Work, 1961, Printed poster on paper. 

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This part of the gallery was staging the exhibition, Nigel Henderson– A Centenary.

‘Nigel Henderson (1917-1985) was a transitional figure in the post-war British art world before the emergence of Pop Art in the 1950s and 1960s. A documentary and experimental photographer and artist who was close friends with Eduardo Paolozzi and Richard Hamilton, he was known for his ‘Hendograms’ and ‘stressed’ photographs.’

http://pallant.org.uk/exhibitions/past-exhibitions/2017/nigel-henderson-a-centenary– accessed 6th April 2018.

I immediately loved it as I love old posters and advertising sheets. I loved the font used and the black and white heavy-set ink. Further research brought me to Hammer Prints which Henderson set up with Eduardo Paolozzi.

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Screen-printed papers, by Eduardo Paolozzi, c.1950-52. © The estate of Eduardo Paolozzi. All rights reserved, the estate of Nigel Henderson. Photography: Andy Keate- https://www.wallpaper.com/art/born-again-hammer-prints-by-nigel-henderson-eduardo-paolozzi– accessed 6th April 2018.

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‘Sgraffito’, ‘Coalface’ and ‘Newsprint’ textiles, by Hammer Prints Ltd, c.1957-72, printed and dyed cotton. Courtesy of Target Gallery, London and a private collection. Photography: Andy Keate. 
https://www.wallpaper.com/art/born-again-hammer-prints-by-nigel-henderson-eduardo-paolozzi– accessed 6th April 2018.

Just beautiful and you can read more about Hammer Prints HERE and HERE.

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Zero pictures of Bomberg as it was forbidden but if you go HERE, HERE and HERE , you    can see the exhibition, more about the pieces and some more portraits by the artist. I have seen the exhibition painting ‘Jerusalem City and Mount of Ascension’ at the Ferens in Hull and it is very, very good. The images I saw in this exhibition at first, I was a bit perplexed but once you got into the pieces he created in Spain and Palestine, his style evolved and became a lot brighter and the images are really special.

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© The estate of David Bomberg. All rights reserved, DACS 2017. Photo credit: Ferens Art Gallery- https://artuk.org/discover/artworks/jerusalem-city-and-mount-of-ascension-78365/search/actor:bomberg-david-18901957/view_as/grid/page/2– accessed 6th April 2018.

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Pallant House Bookshop has everything I ever wanted and much more including The Unsophisticated Arts book secured inside a glass case for safety. When I win on the Thunderball I will back to purchase everything.

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Nice signage font.
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Nice pumpkin friend in a window.

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I really enjoyed my mini trip to Pallant House and their exhibition space and the building itself is really interesting.

Entrance fees vary so do check their website before visiting.

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All websites/links accessed 6th April 2018.

Visit a Gothic church- St Nicholas Parish church-Sutton.

The nearest Gothic revival church in my area is St Nicholas which is 2 minutes walk away. I was christened in this church, have been to weddings, christenings, funerals and even broke up with an ex boyfriend by a broken gravestone in the rain which was very dramatic when you are 16. I also went through a stage as all good alternative teenagers do of taking rubbings from gravestones and studying them with malaise and sadness. I am glad to say that these days are long gone as well as my Doc Martens but still when I visited the other week I did feel like I was missing out by not taking my crayons (black) and paper.

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From a church near you

‘This lovely Victorian Church was dedicated to Saint Nicholas, was built by King’s College, Cambridge, to commemorate the fourth centenary of the foundation of the College, and was consecrated on 4th June 1849 by the Right Reverend John Graham, Lord Bishop of Chester and Provost of Kings College, and the Vicar of Prescot, the Reverend R. W. Sampson of Prescot assisting. The Reverend H. E. Vallancey, one of the Senior Fellows of King’s College, was instituted as the first vicar on 10th July 1849 and was inducted on 4th August 1849. It was designed by Sharpe and Paley. St. Nicholas is a Grade II listed building, with an East Window designed by Henry Holiday, the Pre-Raphaelite artist.’

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It is impressive and after years of not really looking at the church and its architecture you do find that there is a lot to see. From the angle below you can see all the different add-ons and the re-pointing of the brick work.

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Almost the same view but from a postcard dated 1905- http://www.suttonbeauty.org.uk/suttonhistory/religion1/ – accessed 5th April 2018.

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More history of the church can be found HERE. I wasn’t able to gain inside access to the church the day I visited so a lot of my notes are based from photographs, memory and internet searches.

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When I little I used to walk back from primary school through the graveyard and I always wondered what this little door was down the steps. It used to be a big brown door with lead on the front but I suppose over time and people messing about that it had to be replaced. Letterloves-39

This is the outside view of the Faith, Hope and Charity window designed by Henry Holiday in 1879. If you visit HERE you can see more about it and photographs of the window in the church.

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Sandstone from the 1990’s vestry building.

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Liverpool to Manchester railway line. Go HERE to see more.

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My final notes for submission

St Nicholas Church is a small parish church in Sutton, St Helens. Built in Victorian Gothic architectural style it was designed by the architects Sharpe and Paley between 1847 and 1849. The churches squat west tower was added in 1897 which contains two louvred bell openings and a stair turret.

A more recent modern addition is a vestry chapel at the side of the west tower which is built in a sympathetic manner to match the surrounding original pink sandstone and slate roof. The church is said to have much earlier 14th Century detail present (Pevsner, p387).

Entrance to the church is from the south side porch.  The church has various raised levels of floor from the porch entrance with small vestibule and parallel aisles to the nave. The central aisle is separated by a ceiling and Gothic arches that are held up with circular pillars.

The central aisle sides have small clerestory windows which are leaded and there are five each side. The higher windows are rose shaped and are stained.

The east chancel contains a tall stained glass window which dates from 1879; it was designed by Henry Holiday and depicts Faith, Hope and Charity. (Pevsner, p387) It is the centrepiece to the chancel area and is it pointed with three separate panels and one central circle of glass split into six sections with two smaller geometric pieces either side. The chancel has gabled buttresses and an arched braced collar roof.  (Historical England 2018).

Parishioner’s seats are wooden and carved with sloping fronts and high back benches. Carved marks and holders for prayer mats with small sloping rail for hymn books are attached to the pews. Alongside various pews are brass commemorative plaques and various stone carvings of faces.

The west window is split into three stained glass windows showing various bible scenes. The tops of the roof pillars have carvings of flowers, which could be Lancashire roses but I am not certain, which are painted in gold gilt with a blue background. Smaller carvings into the stone of leaves and the occasional flower and angel also appear sporadically, perpendicular to each other across the churches ceilings.

Around the summit of the west tower is an embattled parapet. The colours of the brick suggest sandstone but also as the church is so close to the Liverpool/Manchester railway line the black brick at the top could be discoloration from steam trains, coal smoke and general pollution damage. A flag pole and weather vane are situated on the roof and a wooden clock face is to be found on two sides of the tower.

Outside near the entrance are two gargoyles to superstitiously warn off evil spirits and along the parapet and lower roof a mixture of stone faces varying and repeating themselves such as bishops, Jesus, Mary and what appears to be a well weathered Queen.

The building as a whole blends Victorian Gothic well with more traditional elements such as the 1990’s built chancel which blends with its slate and lead roof that matches the stair turret at the side of the tower. The church has a seating capacity of over 600 and is Grade II listed.

I think the strangest part is the battlement parapet at the top of the tower. I am unaware of any battles that have taken place in the time of the churches being but I think maybe it is for when you climb to the top you can look out safely or it could be the 14th Century detail being brought out.

HA1-Assignment 2 – Reflection/Feedback

Demonstration of subject knowledge

I feel that I have developed my research skills and have written a much more fluent assignment than the previous assignment 1. I have taken the time to read and research other avenues of information when needed.

Demonstration of research skills

I think that the research on the subjects asked for has been shown but also I feel that as I concentrated in my local area I came to a standstill quite quickly.

Books I had taken out of the library that were to do with the history of the church and the local area I researched didn’t really show me much so I relied again on internet sources. The books however did give me pointers to information I wouldn’t have necessarily found from searching by myself.

Demonstration of critical and evaluation skills

I feel I have performed better with this assignment and read and gained the necessary knowledge to be able to actually write my notes and annotations on the selected artworks. I think it is just confidence in knowing that what you have researched is correct, which is something I am yet to feel.

Communication

I went over the word count slightly as I wanted to be able to mention all the parts of the church architecture I had researched. I think I have communicated my findings well and they are in a concise manner but I also feel I could have found out more about my sculpture annotations. I hope that my tutor feedback highlights anything I have missed.

Reflection

I honestly feel that this assignment has made me really think about the differences and time periods in more detail than I ever thought possible. I have found myself staring at churches and chapels and wanting to know if they are Gothic Revival. What is a buttress? Is that the kind of buttress I need to be looking at? I have been very surprised at the breadth of information needed to describe a church rather than it just being ‘a church’

I was christened in St Nicholas, have visited over the years for weddings, Sunday morning Girl Guides and the odd jumble sale but to really think about it and look at it, it is very interesting how much architectural value the church holds.

Reading the selected three chapters and making notes was hard going. The WHA is hard going if you are not used to the level of information and I felt that I struggled but nowhere near as much as last time. I feel I have a better understanding of what I need to be picking out when researching so that it gives me the information I need.

In my feedback from assignment one it was noted that I was very literal about describing and explaining things. I would for instance, about a picture of a pink balloon,  ‘Oh well it’s a picture of a pink balloon’ I have been trying to make myself really get into the meaning and delve further into pieces and it has been difficult and also I feel embarrassed  as I am not always sure that what I am describing is correct.

Researching the Romans in my area came to a standstill very quickly as even though there are slight mentions there doesn’t seem to be much recorded about them. The Pevsner book helped immensely in clearing up any lost bits of information I needed and was also a very interesting snapshot of life in Lancashire and its places of interest in the late 1960’s when it was written.

The church research has both annoyed me and made me feel like I have a duty to find things out for myself. I was unable to venture inside the church so a lot of my inside research is from the internet, Historical England and memory.  Considering the age of the church there isn’t that much written about it and my local history section in the library also came to a stop. I think all those Girl Guide Sundays spent staring  up at the painted ceiling and wondering why it was turquoise and red and the rest of the church was not will hopefully pay off somewhere.

I feel I have annotated my chosen artworks better this time round and I enjoyed looking for pieces to study. I would really like to try to see the Sleeping Venus in real life seeing as I know all about her now. I am feeling better about this assignment and I found it very enjoyable but also a lot of hard work and reading. I still have things to finish off on my blog and to redo my edits of the church photographs I took from the outside but otherwise, onward to part three.

WHA- Chapter Nine-Medieval Christendom.

Chapter 9 –Medieval Christendom-Notes.

Political, economic or social factors

The complexities of the early medieval civilisation reflect in the turbulent centuries following the death of Charlemagne in 814. (WHA p359)

Recovery from the century of terror came in Germany with the reestablishment of stable government by King Henry. (WHA p359)

Changes to status or training of artists

Sculptural proto –renaissance style.

Pistoia pulpits distinctly French.

A new vivid visual language for representing religious ideals of the day.  (WHA p401)

Painters active in late 13th century Rome where largely forgotten apart from Pietro Cavalini. (WHA p402)

Development of materials and processes

The Cluniac order set new standards for religious life and monastic organization. (WHA p367)

Proportions were conditioned by the use of strong vaulting, single great tunnels. (WHA p367)

‘Efforts were now being made to recover the ancient Roman art of large vault construction.’ (WHA p367)

Long naves and transepts made to accommodate pilgrims. (WHA p368)

The growing riches of monasteries, and the increasingly luxurious way of life adopted by abbots and priors, prompted a new call for monastic reform. (WHA p369)

Architectural developments of great importance where inspired by greater unity. (WHA p373)

Tunnel vaults unsatisfactory, excluded light. (WHA p374)

Church windows had been often filled with coloured glass since the 4th century. (WHA p381)

Styles and movements

Western European artists set themselves apart from Byzantium. (WHA p357)

Ottonian art- Greater need for emotional expressiveness. (WHA p361)

Early Christian plans and decorative schemes were revived. (WHA p362)

Use of surface pattern. (WHA p362)

​Sheathing buildings in marble came from ancient Rome. (WHA p363)

Temporal, none religious ideals. (WHA p365)

‘Romanesque ‘debased Roma’. (WHA p365)

Large self carving in stone had little been practiced anywhere in Europe since the fall of the Roman Empire. (WHA p370)

High Gothic- Clear spatial rhythm. (WHA p380)

The desire for light and immateriality complemented the gothic quest for ever greater height. (WHA p385)

Architects were trained as masons. (WHA p388)

All visual arts were involved in the construction and decoration of great cathedrals in the late twelfth and thirteenth centuries. (WHA p391)

The ‘Decorated Style’ was developed in England in the late thirteenth century. (WHA p391)

‘Flamboyant style’ appeared in France not long after (WHA p391)

Inside and outside influences

Northern artistic traditions of intricate flat patterning contributed much to the creation of medieval art in Western Christendom. (WHA p358)

Critics, thinkers and historians

In 1000 AD, monk Raoul Glaber​‘white garment of churches’. (WHA p362)