Chapter 16 Gothic
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Transcript of Chapter 16 Gothic
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Chapter 16: Gothic Art of the 12th and 13th
CenturiesMagister Ricard
Art History
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What should you know?
• Be ready to answer questions about Gothic architecture– Lots of interior images of Gothic cathedrals
• What are the architectural innovations of this period?
• What are the key features of Gothic architecture?
• Think height and light!
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Gothic: It’s an insult!
• The term “gothic” was coined by Renaissance artist (and art historian) Giorgio Vasari– Wrote biographies about the Renaissance masters and
designed gli Uffizi building• Proclaimed all of the structures built during the
previous period to be the type of work only Goths would produce– Gothic tribes were blamed for the downfall of Rome and
thus, civilization• Vasari, as a Renaissance thinker, favored classical
Greco-Roman culture
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GOTHIC ART IN FRANCEChapter 16
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Abbot Suger: A Real Goth
• Abbot Suger, as abbot of Saint-Denis, wanted to beautify the church
• Desired a significant departure from the Romanesque style
• Church should be a place of beauty and inspiring hope and paradise (heaven)
• Very different from fear-inspiring last judgment scenes found in tympana of Romanesque churches
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Abbot Suger: A Real Goth
• De administratione, Ch. XXVIIBright is the noble work; but being nobly bright the
workShould lighten the minds, so that they may travel,
through the true lightsTo the True Light where Christ is the true door……The dull mind rises to truth through that which is
materialAnd, in seeing this light, is resurrected from its former
subversion
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Abbot Suger’s Innovations
Saint-Denis Saint-Etienne, Caen
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Abbot Suger’s Innovations
Saint-Denis Saint-Lazare, Autun
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Choir, Abbey Church of-Saint Denis
• Completed 1140-1144• Stained glass windows
demonstrate departure from Romanesque
• Only possible due to high development of vaulting techniques– Initially used in the
Romanesque period, now adapted to allow light in
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Abbey Church of Saint-Denis
• Aesthetic based on open spaces and not massive, heavy walls
• Suger wanted light and color to help illuminate the soul
• Stained glass imitates shine of gems
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Symbolism in Architecture: Notre Dame and Alchemy?
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Flying Buttresses
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Chartres Cathedral
• Mix of Romanesque and Early Gothic
• Stained glass = Gothic elements
• Housed the Tunic of the Virgin
• Given by Byzantine empress Irene to Charlemagne
• Chartres had a pre-Christian virgin goddess cult
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Chartres Cathedral
• Royal Portal• Inspired by portals at
Saint-Denis• Built after the fire in
1134
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Royal Portal
Christ enthroned
Virgin MaryAscension of Christ
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Ribbed Vaults
Quadpartite ribbed vault Sexpartite ribbed vault
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Clerestory
Triforium/Gallery
Nave/Arcade
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Cathedral of Notre-Dame, Reims
• Innovates on Gothic features• Extends portal sculptural
elements, gabled portals• Places large windows in
tympana• Soaring peaks above
tympana, reaching middle of rose window
• Begun in 1211, completed in 1286
• Used to coronate the kings of France
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Nave, Cathedral of Notre-Dame, Reims
• Great rose window at clerestory level
• Lancets illuminate triforium level
• Window replaces stone in tympanum
• Tracery and sculpture anchor windows
• Mary, not Christ dominates central portal
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Nave, Amiens Cathedral
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GOTHIC ART IN ENGLANDChapter 16
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Gothic Elements in England
• Gothic style gets adapted locally– Originally known as “opus francigeno”
• (English) Decorated style– Ornate decoration of architectural elements– Extra ribs to ribbed vaults
• (English) Perpendicular style– Increased vertical emphasis on architecture– Windows are taller– More ornate
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Gloucester Cathedral, England
• Illustrates emphasis on vertical element
• English Perpendicular style
• Large window in the choir
• Tall lancets unite the choir from floor to ceiling
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Nave Comparison: Look ma, no Flying Buttresses!
Salisbury Cathedral, England80 feet tall (no buttresses)
Amiens Cathedral, France144 feet tall (flying buttresses)
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GOTHIC ART IN GERMANYChapter 16
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Shrine of the Three Kings
• Reliquary held relics of three magi
• Shaped like a basilica-plan church
• Shows Germany still inspired by Roman art
• c. 1190-1210
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Saint Maurice• Artist: n/a• Title: Saint Maurice • Medium: Dark sandstone with
traces of polychromy• Size: n/a• Date: c. 1240–50• Source/ Museum: Magdeburg
Cathedral, Magdeburg, Germany
• Commander of Egyptian Christian troops in Roman army
• Martyred in 286, favored by Ottonian emperors
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Ekkehard and Uta
• Figures represent ideal types
• Faces are individualized and lifelike
• Such realism becomes characteristic of German Gothic art
• Painted to add realism
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Gothic Statuary
• Initially, Gothic architecture followed Romanesque in adorning exterior parts of buildings
• As time progressed, especially during High Gothic, sculpture is freed– The higher the relief the greater degree of
naturalism• Gothic S-curve emerges, similar to
contrapposto
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GOTHIC ART IN ITALYChapter 16
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Return to Classically-Inspired Art?
• Frederick II, Holy Roman emperor, was a talented poet, artist, naturalist and patron of the arts
• Mindful of ancient Roman sculpture and how it affects imperial status, he begins to commission artists to follow that style
• Artists like Nicola Pisano who use observation of nature as a source of inspiration
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Pulpit, Baptistry, Pisa
• Nicola Pisano, 1260• Panels illustrate several
scenes – Annunciation, Nativity, and Adoration of the Shepherds
• Virgin reclines in Annunciation
• Inspiration may have come from Roman sarcophagi found near Baptistry
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Pulpit, Cathedral, Pisa
• Giovanni Pisano, 1302• Son of Nicola Pisano• More emotion• Higher relief• More dynamic
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The Pisano Family
Nicola Pisano, 1260 Giovanni Pisano, 1302
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Crucifix: Gothic Painting• Artist: Coppo di Marcovaldo• Title: Crucifix • Medium: Tempera and gold
on wood panel• Size: 9'7⅜" X 8'1¼" (2.93 X
2.47 m)• Date: c. 1250–70• Source/ Museum: Pinacoteca,
San Gimignano, Italy• “Historiated crucifix” –
contains narrative of the Passion of Christ