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To browse Academia. International Journal for Numerical Methods in Engineering. Steffen Marburg. Tengku Fauzan Tengku Anuar. Issaka Ouedraogo. Timor LoroSae. Christian Canada. Young Min Moon. Benjamin A. The lines we draw between medieval and modern art delineate periods, but also connect them.
We might observe the quiet outline of a walled medieval city that recedes in the background. Footnote 1 If the painting is located in time, its location is expressed through a distinctly medievalising temporality. You move to or from the Modern Wing through the other spaces of the museum, as though moving through history. You notice the scenes of chaotic pogroms, the pillaged and burning buildings, Jewish figures lamenting and refugees fleeing by foot, carrying the Torah, or fleeing by boat en masse.
You notice the host of Nazi soldiers standing in for the persecutors of a distinctly Jewish Jesus. The painting thus takes us back to the medieval, only to situate us again in the contemporary urgency of the late s. Description and explication feel insufficient. Time feels uncannily absent, or at least still. That is, until you come across the final folios of the Old English Illustrated Hexateuch, an English manuscript from around the first half of the eleventh century and currently held in the British Library under the shelf-mark Cotton Claudius B.
It contains an Old English translation of the first six books of the Old Testament and over vibrantly coloured illustrations. Embedded in history and gracing the cover of this issue of postmedieval — the title of which already temporally frames the art in relation to the medieval and its futurity — is a close-up of one of the illustrations on folio v of the manuscript.
