Gothic Art ( mid-12th c. thru 15th c.)

1. Gothic Art (mid-12th c. thru 15th c.) Architecture Stained Glass Sculpture IlluminatedManuscripts Painting

2. Ideas of time: • Life is bad • Humans worse • God is great Man is conceived of blood made rotten by the heat of lust; and in the end worms, like mourners, stand about his corpse. In life he produced lice and tapeworms; in death he will produce worms and flies. In life he produced dung and vomit; in death he produces rottenness and stench. In life he fattened one man; in death he fattens a multitude of worms. - Pope Innocent III, On the Misery of the Human Condition, c.1200

3. Cathedrals are place of sanctuary from evil, a place to be closer to God.

4. Gothic Architecture Three architectural elements define the Gothic style: PointedArch FlyingButtress Ribbed Vault

5. Emphasis on Verticality • Towers, Spires, Pinnacles, and Elongated Sculpture help create the effect of elegant, soaring buildings. • For the observer, vision is focused upward, toward Heaven. (Chartres Cathedral, France) (Salisbury Cathedral, England)

6. Arch: the pointed arch is widely regarded as the main identifiable feature of Gothic architecture (distinct from the round arch of the Romanesque period). The most common Gothic arches are the Lancet, Equilateral and Ogee.

7. Ogee: a shape consisting of a concave arc flowing into a convex arc, so forming an S-shaped curve with vertical ends. Lancet: An arch that is narrow and pointed like the head of a spear. Equilateral: An arch described by two circular curves intersecting at the peak of the arch, each curve having a chord equal to the span.

8. (Flying) Buttress:a mass of stone built up to support a wall, usually necessary to strengthen those of great height. (Sainte-Chapelle, Riom, France)

9. Vault: an arched ceiling. Types: Barrel vault: semi-cylindrical vault. Groin vault: two intersecting barrel vaults. Ribbed vault: A vault in which the surface is divided into webs by a framework of diagonal arched ribs.

10. Floor Plan Gothic Cathedral (Amiens, France)

11. Façade: one side of the exterior of a building; The west end façade is often referred to as the West Front.

12. Tympanum: the semi-circular or triangular decorative wall surface over an entrance.

13. Nave: the main body of a church or cathedral. Sometimes defined only as the central aisle. (Madgeburg Cathedral, Germany) (Durham Cathedral, Normandy) (Chartres Cathedral, France)

14. Aisle : Passageways of a church or cathedral, separated from the Nave by rows of pillars; generally running along the north and south sides.

15. Transepts : the north and south projecting extensions of a cruciform style church or cathedral, crossing at right angles to the greater length.

16. Crossing : The central space of a church or cathedral. The intersection of the Nave, Transepts and Chancel.

17. Choir: the area of the main altar where services are sung, located between the crossing and the apse.

18. Apse: a semi-circular or polygonal termination of the main building at the east end (where the altar is).

19. Ambulatory: passageways surrounding the central part of the choir, which is often a continuation of the side aisles.

20. Radiating chapels: chapels projecting radially from the curve of an ambulatory. Lady chapel: chapel attached to a church and dedicated to the Blessed Virgin; often larger than other chapels.

21. Stained Glass Architect Abbot Suger (mid-12th c.) rebuilt church in one of first examples of Gothic style in France. He believed the presence of beautiful objects, like stained glass, would lift men’s souls closer to God.

22. Rose Windows • Developed from oculus or circle shaped window used in early Christian and Byzantine architecture. • Characterized in Gothic era by stone tracery that separated windows into segments. • Windows with simple spoke design also called “wheel window”. • Subjects often depicted: Last Judgment and Virgin Mary.

23. Gothic Tracery: ornamental stonework most often seen supporting window glass. Sometimes used merely as decoration on panels and moldings and then called 'blind' tracery.

24. Clerestory: upper level of the nave of the cathedral. The walls rise above the rooflines of the aisles. Stained glass windows in clerestory walls allow in extra light.

25. Painting • What is called “Gothic” style painting began roughly 50 years (1200) after Gothic architecture and sculpture. • Painting was used in different crafts: frescoes, panel paintings, illuminated manuscripts, and stained glass.

26. Narrative frescoes predominantly found on church walls in southern Europe.

27. Panel Painting • Painting on wooden panel; single or multiple pieces joined together (triptych = 3 panels). • Begun late 12th c. • Used to decorate altars (altarpieces). • Common subjects: Christ, Virgin Mary, saints (sometimes donors were also depicted as minor figures in painting).

28. Illuminated Manuscripts • Handwritten document in which text is supplemented by decoration such as borders, decorated initials, and miniature illustrations. • Manuscripts date back to Late Antiquity; majority survive from Middle Ages; some were still produced in Renaissance. Printing led to the decline of manuscripts. • In Middle Ages manuscripts were religious until the 13th c. when secular texts began to be illuminated as well. • Rubrics: highlighted text written in red letters. • Bibles, psalters, books of hours were illuminated.

29. Text: • Layout planned. • Text written. • Script varied regionally. • Display books: Bibles, Gospel Bibles, Pslaters, Books of Hours. • Images: • After text set, illustration began. • Early Middles Ages: display books were illuminated and manuscripts were not; used for study. By Gothic period, almost all texts had some decoration. • Gothic display books had more elaborate decoration: foliate prints, drolleries (mixed creatures).

31. Gothic Painting Styles • Lineal or French Gothic style (13th c.): • Importance of drawing lines that confine color • Intense color • Tempera paint • Naif naturalism; simple scenes. • Wall painting, wood painting, miniature • Italian Gothic style (14th c.): • Attention to perspective and study of human body. • Importance given to light in relation to color • Depiction of emotion in order to move viewer • Stylized figures

32. Gothic Painting Styles (cont.) • International Gothic style (14th c.): • Importance given to anecdote and emotion • Highly stylized images • Curved lines, draperies, movement • Natural details with symbolic character (Oratory of John the Baptiste) • Flemish style (15th c.): • Use of oil to link colors (as opposed to egg or glue used with tempera paints) • Colors are more brilliant and vivid, transparency can be created and composite colors appear • More complex and detailed works • Beginning of easel painting (The Arnolfini Portrait, 1434; Van Eyck)

33. Simone Martini (1238-1349) • Born and worked in Siena, Italy; student of Duccio, artist of Italian style. • Work includes: cathedral frescoes, altarpieces, palace murals. • Style: soft, decorative features, sinuous line, elegant. • Influences: French illuminated manuscripts and ivory carving. (Portrait of Folgliano in honour of the capture of Montemassi, 1328) (Detail: The Annunciation and Two Saints, 1333) (St. Louis of Toulouse, 1317) (The Annunciation and Two Saints, 1333)

34. Cenni di Pepo (Giovanni) Cimabue (1240-1302) • Born in Florence; died in Pisa. Highly-regarded in his day based on number of commissions he received. • Painted panel and wall paintings. • Style: flat perspective, stylized figures, more naturalistic life-like proportions and shading. (The Blessed Mother, Angels, and St. Francis) (Crucifix at St. Domenico, Arezzo, 1275) (Apocalyptic, Assisi 1280) (Crucifixion, upper church, St. Francesco, Assisi 1277-80)

35. From Dante’s Inferno: “O vanity of human powers, how briefly lasts the crowning green of glory, unless an age of darkness follows! In painting Cimabue thought he held the field, but now it’s Giotto has the cry, so that the other’s fame is dimmed.” - Canto XI • Public lost interest in Cimabue with rise of Renaissance painters. • Giotto is Cimabue’s student. (Madonna and Child Enthroned, 1310; Giotto) (Maesta, St. Francis of Ufizzi; Cimabue)

36. Giotto di Bondone (1266 - 1337) • Florence, Italy; painter, architect, and sculptor. • Style: realistic depiction of figures; emotionally expressive; uses perspective. • Known for emotionally expressive work. Body postures and facial expressions of his figures communicate the humanity of the situations he paints. • Wall frescoes include: the life of St. Francis at Assisi (debated), the lives of Jesus Christ and Virgin Mary at Scrovegni (Arena) Chapel at Padua (masterwork), and other commissions for princes and high churchmen in Naples and Florence. (Mourning of Christ) (Arena Chapel Crucifixion, Padua, 1306-07) (Kiss of Judas)

37. Jean Malouel (1365-1415) • Netherlands; court painter for Philip the Bold, Duke of Burgundy and his successor, John the Fearless. Father and uncle were also artists. Malouel is the uncle of famous manuscript illuminators the Limbourg Brothers. • Lived and worked in Paris and Dijon. • Works: At Philip’s dynastic burial place, Chartreuse of Champmol: five altarpiece panels, painting the Well of Moses, and Philip’s burial tomnb; Pieta tondo (circular painting); Last Communion and Martyrdom of St. Denis, thought to be begun by Malouel and completed by Henri Bellechose. • Style: use of transparent glazes (would be used by Van Eyck with oil paints). (Pieta, 1440) (John the Fearless, 1400) (Last Communion and Martyrdom of St. Denis, 1416)

38. Jan Van Eyck (1395-1441) • Netherlands painter; worked in Bruges. • Achieved new and remarkable effects using oil paints. • Court painter 1422-1424 for Duke Philip the Good of Burgundy. Also painted private commissions. Well-known in his day. • Works: The Arnolfini Portrait, 1434; Madonna with Chancellor Rolin, Madonna of Canon Georg Van der Paele; the religious painting, Annunciation; Portrait of Margaretha (his wife) and Portrait of a Man (self-portraits). • Style: faithful observation of nature; used disguised religious symbols. (Annunciation) (Portrait of a Man) (Madonna with Chacellor Rolin) (Madonna of Canon Georg Van der Paele) (Portrait of Margaretha)