Creating and imitating in the Middle Ages
Prof. Dr. Bert Cardon
In the late Middle Ages, the production of art was a complicated and multi-layered phenomenon. It is
impossible to generalise about art in this period. Worthy
of note were such practices as copying, the making of pastiches (in the sense of conscious imitation) and working
in an imitative style. Describing and explaining such practices is no simple matter. Are we dealing with traditional procedures or do new procedures arise within specific contexts? Do they suddenly appear, and how long do they continue to be used? Is there a hierarchy in the production of art that helps to create a favourable climate for the production of art? The concepts that we use today have different meanings from those in the Middle Ages. Is it possible to gain a complete understanding of the procedures using the concepts that operate today? The compilation of a body of examples allows us to establish the major trends, with the condition that the historical reality is respected. This body includes panel paintings, illuminations, sculptures, wall paintings and graphics. The relationship between the disciplines offers an insight into the creative field. What is the place of model books in this context? It would appear that they were enthusiastically used. These were sources that were consulted and applied differently from the creations of fellow artists. Copying was not a medieval discovery. Much earlier, in classical times, copies were made: one need think only of the identical depictions found on vases and other Greek images that were constantly copied. At the same time, this does not suggest that in the Modern Era only new subjects and compositions were created. Was it at this time that the concept of originality and invention came into being? How can this phenomenon be defined and explained? Within this approach, style plays a significant role. Styles arise, develop, grow old or are rejuvenated, and are influenced by other regions. Important for the research is the social and financial context and the profile of the 'bestsellers' and owners. Contracts negotiated very close in time and space to the initial procedure of the work of art may offer insights into specifically agreed details. The materials were usually the primary concern. In particular, the quality of the materials was carefully considered, as well as the manner in which they were to be applied. The negotiations tended to deal explicitly and extensively with such matters. A second concern was the time-frame within which the work was to be completed. A third condition was the iconography, which had to conform to the limitations of the religious tradition. The fourth condition was the specific iconography; the theme was provided by a theologian or another specialist. Many contracts stipulated that the artist(s) had to draw on the examples of others. Travel costs associated in consulting such models were remunerated.
