Apse of Sant Climent de Taull. The Apse of Sant Climent de Taüll is a Romanesque fresco in the National Art Museum of Catalonia, Barcelona.
This is one of the masterpieces of the European Romanesque. from which the unknown Master of Taüll takes his name.
Painted in the early 12th century, it was in the church of Sant Climent de Taüll at the Vall de Boí, Alta Ribagorça in the Catalan Pyrenees until removed in 1919-1923, along with other parts of the fresco decoration, in an attempt to preserve the paintings by placing them in a stable, secure museum setting. The apse has been replaced in the church by a replica, and some original decoration remains there.
MNAC Barcelona also has the paintings from the triumphal arches, a side apse, the consecration inscription and an earlier window.[ Its genius lies in the way it combines elements from different Biblical visions to present the Christ of the Day of Judgement. Christ appears from the background causing a movement outwards from the centre of the composition, which is presided by the ornamental sense of the outlines and the skilful use of colour to create volume.
The exceptional nature of this work and its pictorial strength have reached out to modernity and fascinated twentieth-century avant-garde artists like Picasso and Francis Picabia. The round surface beneath Christ’s feet represents the earth and the halo on his head represents divinity. Christ’s
This is one of the masterpieces of the European Romanesque. from which the unknown Master of Taüll takes his name.
Painted in the early 12th century, it was in the church of Sant Climent de Taüll at the Vall de Boí, Alta Ribagorça in the Catalan Pyrenees until removed in 1919-1923, along with other parts of the fresco decoration, in an attempt to preserve the paintings by placing them in a stable, secure museum setting. The apse has been replaced in the church by a replica, and some original decoration remains there.
MNAC Barcelona also has the paintings from the triumphal arches, a side apse, the consecration inscription and an earlier window.[ Its genius lies in the way it combines elements from different Biblical visions to present the Christ of the Day of Judgement. Christ appears from the background causing a movement outwards from the centre of the composition, which is presided by the ornamental sense of the outlines and the skilful use of colour to create volume.
The exceptional nature of this work and its pictorial strength have reached out to modernity and fascinated twentieth-century avant-garde artists like Picasso and Francis Picabia. The round surface beneath Christ’s feet represents the earth and the halo on his head represents divinity. Christ’s
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