Magh Ene College has a vibrant and busy Art department and Art, Craft and Design is a popular choice of subject among the students. The programme includes painting, drawing, sculpture, printing, project work,design, collage, ceramics, maskmaking, DIY craft Projects, 3D construction and Art history.
Through this website we hope to show the array of artistic talent of both our present and past pupils and the range of work that they are producing.
sculpture gave the church a new and powerful medium for teaching the word of
God.Most people were illiterate, but
could now ‘read’ the stories of Jesus and the saints over and over in the form
of sculpture on the church’s.
Some Romanesque facades were modelled in Roman
triumphal arches and had life size figures of saints on either side of the
door.Many, however, had chilling images
of God the farther in dramatic last judgment scenes sculpted on a monumental
scale and placed on the great tympanum (semi circular shape) over the doors for
pilgrims to see as they entered the church.
Death & the
in medieval times was understood in a very different way.In Christian religious teaching, death was a
passage to the next, more important life, and every dying person faced the
question of whether they would receive mercy from God or face the eternal
damnation of hell.
this reason, Romanesque art produced a greater wealth of images of death in all
its forms than any other period in the history of Western art.At a time of deep religious faith, a medieval
believer entering the house of God was faced with the most terrible images that
imagination could conjure up of the end of the world and a God of vengeance sitting
in judgment.The grotesque images of
devils, demons and tormented souls were intended to create a fear of hell and
other fantastic creatures, but also in the representation of the human
figure.No attempt was made to portray
God or the saints in a natural way.Instead they were blocky, dignified and unreal or depicted as strange,
elongated beings in a swirl of limbs and drapery.
of the most important impressive Romanesque sculptures are found at the cathedrals
of St Mary Magdalene in Vazelay and saint Lazare of Autun.
St Mary Magdalene in
Vezelay (discussing sculptures inside this church you have already studied)
the western portal over the doorway in the narthex (entrance or outer porch) is
the great tympanum of the Pentecost
(Christ brining the holy spirit to his apostils in the form of fire).A massive Christ sits serenely inside a
mandorla (oval shaped halo) with his arms thrown open, symbolizing the glory of
his resurrection.His beautifully
pleated robe is arranged in whirling patterns, and from his hands the flames of
the Holy Spirit fall to the apostels’ heads, giving them the strength to teach
the word of God to all races depicted above and below.None of the sculptors who created the
wonderful saints, angels and devils carved into scenes of the capitals of the
pillars at each intersection of the nave of Vezelay signed their work, so they
remain anonymous works of art.Many
display imagery typical of the Romanesque fascination with the grotesque, but
the church’s most interesting as well as beautiful capital is its most famous: The
mystic Mill, which shows mosses pouring grain into a mill while St Paul the
apostle gathers the flour.The grain
represents the law given to Moses and the mill symbolizes Christ.
Saint – Lazare in
entering the church of Saint Lazare at Autun passed beneath the great tympanum
in the west facing doorway.As they
ascended the steps, the dramatic scene that met them was calculated to inspire
hope, but it also put fear into the hearts of sinners.The weighing of souls at Autun is probably
the most famous Romanesque last judgement scene, particularly as the artist
chose to sign it.
The Last Judgment
huge figure of impassive Christ sits on his throne in the centre of a world
filled with tiny figures of souls rising form their tombs as angels sound the
last trumpet.St Peter, with a large
key, welcomes the saved to Paradise, while the damned are dragged in dramatic
fashion to hell by grotesque demons.
The Weighing of Souls
the lintel below Christ’s feet on the left, the damned are driven from him,
naked, by an angel with a flaming sword, while giant hands grip a tormented
soul.Various forms of sin are depicted
here – a miser has his heavy money bags and an adulteress us being gnawed by
snakes.Above their heads, an impassive
archangel Michael weighs the souls while terrified figures hide beneath his robes.A grotesque devil tries to pull down the
scale and another sits in it to make it heavier, before a laughing demon pours
those condemned forever down a chute towards the gaping jaws of hell and the
was a rare occurrence in medieval art for an artist to sign his work, but the
sculptor of Autun has placed his name Gislebertus hoc Fecit beneath Christ fop
all to see.
is known that Gislebertus trained at Cluny and probably worked as an assistant
at Vezelay, but he was by now a mature artist and this was his crowning glory.The unique style of elongated figures and
exaggerated expressions is particularly and very distinctively his own.
last judgment theme has an intensity not seen before and the scale and drama of
the imagery could not have failed to inspire awe in an impressionable pilgrim
visitor, particularly as it would have been painted in full colour.Gislebertus, like all good storytellers,
seems to have had a taste of horror, and the gruesome scene conveys the
impression that the artist relished the opportunity to portray this one in all
its horrific detail.
Carved capitals in
capitals on the supporting piers inside the cathedral were all carved by
Gislebertus himself and also show his skill as a sculptor and storyteller.Some of the best are from the pillars of the
choir.On these, fine ornamental foliage
is combined with figures in expert fashion.However, their key element is the story itself and the simplicity of its