Search Results : romanesque architecture

• Gothic Art Architecture

  Posted on July 1, 2014 3:49 pm by Elena Comment

   

  

   

   

  Gothic Art Architecture

   

  The architecture was the first manifestation of artistic development in Gothic art and it has a wealth of forms and accentuated ornamental variety that intensifies gradually coming to cover the external walls of these buildings with beautiful decorations. Sculptures with religious themes, vegetal and geometric motives join gargoyles, canopies and beasts like figures of fearful aspect in its pinnacles and flying buttresses. Sculptures and reliefs that are placed by thousands in the outer part of the cathedrals look more realistic, moving away from the symbolism of the Romanesque era.

  The Gothic Cathedral is the main building during this long period in the middle ages, representative of the ideals of the new bourgeoisie and its most refined tastes. This architecture is monumental, is constantly seeking to extend its structures as high as possible, thanks to new techniques to lighten the walls allowing out magnificent upward constructions carried out with voluntary labor and the contribution of craftsmen guilds.

  This search for closeness to God and his heavenly kingdom justify the unbridled search for elevation for which displayed a remarkable number of innovative construction techniques and masterful display of engineering and mathematical knowledge. Regions compete for having the highest Cathedral and this leads to a constant challenge in the search for technical solutions that make possible such audacity.

  

  New religious tendency make light a leading element, for them light represents God and the more iluminated were those enclosures more effective communication with God, therefore the spatial conception of these cathedrals focuses on the effective use of the light coming from the outside. Also pay attention to the architectural space designed to properly locate luminaries, chandeliers and any other element of lighting where daylight does not get there or during hours when it was not available.

  In the large openings at the front of Cathedral were placed an enormous amount of stained glass containing historical narrations about the martyrs of faith with colorful decorations through were plenty of natural light filled the spaces. Among these amazing decorations are beautiful circular rosettes also in glass with both religious scenes as with ornamental forms placed radial from a prominent center usually on the main façade and the arms of the transept (the transversal gathering large room that crosses the big salon in the churches).

   

  

   

  In the Gothic style the capitals lose its importance within the framework of the building instead of sum importance are the Baquetoneado a type of rounded molding that looks like a stem of a plant that is vertically row-shaped one with the other forming the support column. Although the Baquetoneado process do not reinforce the column as such properly from the structural point of view, if helps give visual unity to the space of the Gothic building and mark the lines of force that guide the displacement of the tensions of the dome to the ground. In these columns is where rest the nerves of the vaulted naves. These columns with ramrods are known also by fasciculate pillar having different decorative variations.

   

  

  Main construction elements of Gothic art:

   

  –The pointed arch It is much more effective in the transmission of weights than the round arches used in Romanesque buildings.

  –The ribbed dome or ogival whose support lies in the fasciculate pillars. They endure only vertical forces. The vaults are evolving from the quadripartite or ribbed, the sexpartitas, (six nerves) and the starry ribbed form.

  –The flying buttresses: Are elements of lateral push that complement the resistance of the structural pressures allowing a lighter wall and build higher.

  –The buttresses: Structural support element attached on the outside of the walls to lighten the weight of these ones.

   

  

   

  Topics and main motives used in buildings decoration on Gothic architecture.

   

  1 –Of tracery. (Ornamental decorative lines of branched that support the work in windows) Among them are:

  (a)Geometric motives.

  (b) Clovers and flamboyant designs.

   

  2 –The naturalist topics that include:

  (a)Designs with vegetable motifs.

  (b)Which represent animals and mythical beasts.

  (c)Representations of the human figure.

   

   

  

   

  In these lavish Gothic cathedrals altarpieces takes place an evolution in the front of the altar dominated mostly for decorations relating to the last supper, sacred stories to the martyrdom of Jesus on the cross and the descent from the same. It occur a widening proliferation of sculptures to decorate the architectural spaces, both indoor and outdoor. Sculptures are placed in the flying buttresses and prominent pointed structures, some looking beast like forms. Outstanding carved works in choirs have a profuse decorative style done with masterful skill and quality.

   

  

   

  Main changes in Gothic decorative elements and the sculptures locations.

  -The eardrum in this new style is pointed and they are divided into strips or bands.

  -The archivolts are longitudinally as opposed to the previous Romanesque style in which were vertically.

  -The jambs are also sculptures with canopies of Gothic tracery.

  -In the transept are located sculptures under the canopy.

  -The Gables (a triangular ornamental wall, built on an arch with very acute form) underlined the verticality of the set.

  The plant and the uprising of the Gothic buildings:

  -The plants of Latin cross are maintained on these monumental cathedrals with three or five Naves with the transept highlighted.

  -They have ambulatory with to hall and radial chapels.

  -Dome.

  -Altar.

  -Transept.

  -In the uprising are made present galleries and clerestories placing on them the clerestory (which is the level where the large windows are). This is the top point on the side walls and gradually occupying more and more space over time as they are becoming higher buildings.

  -The facades have capitals that are large towers topped with needles. (These capitals resemble lace due to the draught that is abundant in stone decoration). They emphasize the height of the building on the outside.

   

  

   

  In the Gothic period sculptures are gradually released from its architectural framework and changes occur in the gestural treatment and in the representation of the characters that are symbolized. In the eardrums of the facades are reliefs and sculptures with the theme of Christ risen and triumphant, the Marian theme and scenes from the old and New Testament.

  During the stage of the so-called Gothic Classic, through the Court of Fernando III French influence is reflected in the cathedrals of Burgos, Toledo and Leon. But it should be noted that the Spanish cathedrals were not parochial copies of the French models, and in them can be perceived architectural and decorative features of the Hispanic culture, as they were Muslin elements from the time of Arab domination.

  In the 14th century the greatest architectural progress occurred in Catalonia and Levant, with examples like the cathedrals of Barcelona, Palma de Mallorca and Gerona. In this area it is adapted to the propositions and foundations of the South of France, by what has been called Mediterranean Gothic.

  The unique features of English style include structures with extreme length and height that incorporated very elaborate desings but really beautiful . Additionally, those buildings moved away from large, bulky structures to more elegant, thin and refined works. Ornamentation and decoration both internally and externally utilized carvings and detailed capitals. The “Perpendicular Style” is unique to England and cannot be found in other European countries. It developed after the “Decorated Style” and marked the last era of Gothic Architecture in England. All this elements are very important because they made possible the way to Renaissance style in the 16th and 17th century.

  In German Cathedrals the moldings used were simple and basic no so elaborated like they were made for example in England. The most internal distinctive feature of German Gothic design was the great height of the triforium, a shallow gallery of arches within the thickness of inner wall, which stands above the nave. Although buildings in Germany possess many structures pretty much standars or specific to Gothic Architecture, quite amount of then possess a distinct national character that is not found in other European countries.
  German designers experimented with geometrical figures and lines, which mostly translated into elaborate tracery for windows and paneling.

   

  

   

  Civilian Buildings in Gothic architecture

   

  Although preeminent the religious architecture; civilian buildings have also become important in Gothic period as for example private residences and the palatial type. Improvements in the quality of life are introduced in these buildings which although not characterized by the pursuit of height as in cathedrals, if stand by the richness, comfort and abundant decoration on the outside in many of them. Corridors with sequence of ogival arches between the thin columns and decorated capitals are placed both outside and inside the buildings.

   

  

   

  These edifices of a civil nature and the one dedicated to the Administration and political centers reflect plant and Freehand designs typical of the architecture in the Gothic art but also respond to local regions specifications where they were built so; a great architectural variety it is observed across Europe. As example are those carried out for housing of the bourgeoisie and the upper class as well as major universities where now is studying also the culture and art outside of the churches.

  In Italy they acquire huge practical importance as a meeting place congregation and business centre, adapting to urban conditions and away from the militarization of medieval castles. Among these buildings in Italy are the communal Palace of Siena and the Vecchio palace of the Signoria in Florence. Highly for its beauty and local adaptability the ones located in Venice are very important as well.

  In Spain the civil buildings during the greater part of the Gothic and the high Gothic remain faithful to the French models but develop decorative elements of Arab influence, (Mudéjar) which led to the formation of local stylistic variants . Significantly in Valencia are The Silk Exchange, the Palace of Generalitat in Valencia and the Palace of the Borja family. The Civil Gothic building in Catalonia shows its splendor in the Palace Mayor Real of Barcelona, the Palace of the Generalitat of Catalonia and the Santa Cruz of Barcelona Hospital.

  In the Gothic period not all the cathedrals made in this style were decorated with rich elements  because this factor of monumental construction seeking high was not present in order consagrated to poverty. Therefore are differences in the level of decorative elements among the cathedrals of the order of Cluny and the Cistercian monasteries since the latter reflected an austere art corresponding to the ideals that advocates the Cistercian Order for instance:

  The CISTERCIAN Orders simplifies some elements

  1. Only have two floors
  2. The stained glass windows are not colored.
  3. They have no triforium.
  4. The capitals are cubic and without decoration.
  5. The transept and the apse are not deep.
  6. the utilitarian dependencies are separated from the main building.

   

  

   

   

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• Romanesque Painting

  Posted on January 8, 2013 3:23 pm by Elena 2 Comments

  

                                                                                Romanesque painting

  Painting in Romanesque period has a notable development, because the vast space of smooth walls were appropriate to the pictorial decoration; therefore, the painting was also a subordinated art to the architecture. The need to get a quick religious impromptu in the spectator as soon as they approach the interior of this buildings  made the use of painting a valuable resource.

  A clear Eastern influence through the art of Byzantium  can be seen in the lack of perspective, plain colors, symmetrical composition, rigidity of the figures and the blankness and expressiveness’s in faces, always showing their amazed eyes.  Another element is a marked frontality of the figures  that strengthens the communication with the spectators.

  

  The technique used is that of the Fresco, notable examples are:

  • The Catalan Romanesque churches that use effulgent colors and abstract motifs of symbolic meaning.
  • The Italian churches, where painted religious scenes already shown true commitment to copy nature with fidelity.

  These are paintings created to decorate and as means of dissemination of religion; therefore topics revolve around those themes.  The images of these paintings become an intellectual communication vehicle.

  

  The paintings destined to illustrate the religious and idyllic passages and reinforce the clear understanding through the narratives; use a simple images representation supported by intense and contrasted colors, as well as black out liner contours against the simplest background possible.  

  Romanesque painting has therefore two important features one is its symbolic nature and the other is itsnarrative sense.

  

  Romanesque painting general characteristics

  • It is used to accentuate  religious message with anti naturalistic representation of reality.

  • Clear intent to represent the facts through the simple explanation of the sacred Word.

  • It has strong religious content through gestural representation.

  • Intensifies expressive representation through the frontality of the figures.

  • Bright and intense colors are used.

  • It uses the spatial hierarchy of  topics.

  • Apply conventions in painting that allow a clear reading of  images.

  • Reiteration in the use of two important themes: The Virgin and the Christ Pantokrator (In Christian iconography, refers to a specific depiction of Christ) and narratives of the old or the New Testament.

  • Symmetrical composition.

  • Perspective of Tolomeo (divergent lines).

  • Hieratic and rigidity of the figures that intensifies the formality or seriousness of the religious theme.

  

  

                                                                                                                                           

  Treatment of the figures in Romanesquepainting:

  • Flat
  • Elongated
  • Without perspective or with false perspective.
  • Gradually Stepping of characters with different sizes according to their relevance or hierarchy.
  • Eyes and hands with dimensions disproportionate to emphasize spiritual expression.
  • It uses a range of bright colors (red, yellow, orange and blue)
  • Contiguous stripes of colors intensive contrasted between each other.
  • Use of the color black to outline the figures against the background.
  • Simplicity in the details.
  • Profiles with thick strokes.
  • Formal outlining.
  • “V” shaped feet.
  • Perspective of divergent lines.

  

  Glass Painting in Romanesque Art

  The glass painting was in this period also a format used to support the religious propaganda, making good use of the possibility to narrate the passages of the bible with a potent vehicle; using the strong power that the light aport coming from the exterior of the buildings through the decorated glass windows. This colored and beautiful  windows were definitely an eye cashing element that produce and overwhelm feeling in the spectator; at the same time that give a direct to the point messages, driven to efective represent the fervor and adoration of the religious characters’.

  The use of barrel vaults made possible the construction of huge interior spaces; built entirely of stone, but since the roofs were extremely heavy, the walls had to be tremendously thick to prevent buckling. Strong walls also meant fewer windows, so the insides of Romanesque churches often look dim and feel like fortresses. It is for this reason that the only sources of natural light become so important and since they were so intense colored it is hard to miss them.

  

  Early Romanesque style stained glass was influenced by the linear patterning, abstraction of the form and severe frontality also found in Byzantine Art. Most church windows exhibit individual monumental figures with few tiers (a row placed one above and behind another row) in lozenge shaped groupings.

  The stained glass technique in the Romanesque period give some significant work of art; been the predecessor of the magnificent glass windows of the ghotic period. their beauty; that can still been appreciated in the buildings dated from those early times in the Middle Ages show the talent of the glass blower artisan’s who use important skills passed from the Byzantine period and passing them enriched to next generations.

  A strong or sudden change in political, social and religious conditions trough times jeopardized the survival of stained glass beginning in the sixteenth century; making decline and destruction of a high quantity of those magnificent glasses that unfortunate had been loss.

  This effective format of painting was widely use further by the Gothic style with such profusion, beauty and perfection in cathedrals and Church that is hard to think this days in those religious buildings without the images of the glass painting windows come immediately to our minds. Since this glass painting use the possibilities that light itself offer to this format so effectively, they were continued used trough times to moderns day; although the stain glass as a technique become a loss art; been substituted for new techniques of  glass window painting in the renaissance period.

   

  Romanesque Manuscripts

  These manuscripts contained some of the best painting from the Romanesque period of art, as they were not restricted by the fresco medium; that were usually applied over the thick walls. The manuscripts offer the possibility that could be highly detailed and the pictures were important; as many of the people who looked at the books could not read or write, so the images contribute to communicate the messages.

  The majority of illuminated manuscripts are of a religious nature; usually bibles are is the case of the rest of the painting theme in the Romanesque painting art. Miniature in many cases using intense and eye cashing colors were sometimes wrapped up by the text or accompanied by Initials or small text. Vivid colors in the figures clothing; contrasting with the simple backgrounds in wich they are setted, help to get the messages  with more effectivity.

  The embellishment of text with gold or silver; gave the impression that the page had been literally illuminated, most books were produced in a team rather than by an individual. They were extremely expense and only the clergy could afforded.  Those manuscripts in Romanesque period have a distorted and very flat perspective and the feet are turned to the side, but the body is flat as well, similar to Egyptian hieroglyphs.

  In the early Middle Ages nearly all illustrated manuscripts were produced by monks. However, by the 15th century artists in the towns were commissioned to do this work. Although they rarely signed their pieces, tax records suggest that these artists were often women.

  

  Illustration from Christine de Pizan’s “The City of Ladies,” written in the 15th century, representing woman’s working in the illustration of manuscripts process. 

  

  I highly recommend visiting this link that offer very good and detailed information about Manuscripts in this period of Art. http://share.ehs.uen.org/system/files/manuscripts.pdf

  or click in the picture below to go to this presentation.

  

   

  Romanesque paint over wood board and crucifixes

  Paintings over wood surfaces also have the same themes and characteristics as the rest of the painting that was made in the Romanesque periods. Influenced by Byzantine elements and culture the Romanesque use vibrant colors figures over a simple background, linear patterning, abstraction of the form and severe frontality. The forced perspective and unnatural representation of the figures respond to the symbolic characteristics to carry the messages more effective.

  

  

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• Romanesque Sculpture

  Posted on January 1, 2013 7:07 pm by Elena Comment

   

  

   

                       Romanesque Sculpture

   

  It is subordinate to architecture, which determines the places and spaces that must be covered with reliefs or statues, the porticoes of the entrance and in the capitals of the cloisters (place of religious retreat).

  The pilgrimage that took place using the shrine dedicated to St. James from the 8th century destined to paid tribute to this Saint in the Romanesque Cathedral of Santiago de Compostela; became the most renowned medieval pilgrimage and favors an increase in the production of sculpture. Under the Organization of the order known as “The order of Cluny”, were carried out in the places of passage constructions with the purpose of welcoming the pilgrims on their way to the Cathedral and also to display religious relics that contributed to exalt religious fervor.

   

  

   

  An increase in the use of applied sculptures with exclusive religious thematic to architectural structures can be seen above the Northern Europe. These images are mostly carried out in wooden polychrome and in some cases covered with metals such as bronze or silver.

  Other sculptures carves in the stone to decorate specific spaces in this buildings are; as in the case of the paint very stylized, been a mere idealization of the reality. They have to serve as a religious propaganda vehicle efficiently and for that purpose a forced perspective to fix this figures in the space destined in the building is imperative.

   

  

   

  The sculpture although not as outstanding as the Romanesque architecture, applied the same pre-established codes and artistic scheme to provide a clear and educative religious message about the sacred word. The sculpture and the architecture both used the Northern Roman elements.

  Were also seen in Romanesque style the presences of the Byzantines and Persians elements as well as some Arabs decorative characteristics. The Romanesque sculpture between the XI and XII centuries mimics artificial models establishing a particular routine of decoration.

   

  General Features of the Romanesque Sculpture

   

  • · Non-artistic didactic purpose; (Catechism and religious instruction).
  • · Stylization and disproportion of the figures (not portray of the natural proportions).
  • · Wrong perspective, illogical relationship between size of the figure with the depth of the background.
  • · In the reliefs, the size difference of the figures means the importance of character.
  • · Symmetrical composition; the scenes are made up, observing this principle of proportion.
  • · In the eardrums, composition always has the figure of Christ as the axis.
  • · Some rigidity of forms.
  • · There is lack of expression suitable in figures or sometimes this is very exaggerated.
  • · Forget the sculptural muzzle in the human form.
  • · Imposed symmetry in the folds of the cloths that resembles the Greek archaic period.
  • · Occurs a repetition and monotony in the elements of the scene being rendered.
  • · Stiffness and Coarseness can be seen in the execution of the work.
  • · They often adopt the theme of flora and represent it stylized.
  • · Represent fauna but sometimes as monstrous.
  • · The heads represent all at the same height in some figures of sets.
  • · Marked polychrome with vivid colors when they take place in materials that allowed it.

   

  

   

   

  Among depictions of biblical scenes that are found in many of these Romanesque buildings sculptures are the one called “Bestiaries” as well as personifications of the signs of the zodiac. There is also a frequent use of peculiar diptychs of ivory, crucifixes made in both ivory and bronze and also statues in which it represents the Virgin Mary.

   

  

   

  Decoration of caskets for both jewelry and relic showed great mastery in the finish, careful detailed figures against the background manage to fix very well adapted to the shape of the container.

   

   Fundamental schools in the development of Romanesque sculptures that stand out:

   

  • Irish and Anglo-Saxon school. Since the 7th century. (Interlaced and calligraphic ornaments)Elongated figures.

   

  • German school. From the 9th century. With the momentum of Carlo Magnum. (Works of bronze and Byzantines classical tendency).

   

  • The Italian school. Since the end of the 11th century until the middle of the 12th century  (Italic-Byzantine)  than is guided by Constantinople models.                                                 (Bronze doors with relief in several cathedrals).

   

  • The French school. Since 12th century. With 6 outstanding schools:

  –          The Isle of France School.

  –          The School of Normandy.

  –          The school of Poitou and Saintonge.

  –          The Auvemia School.

  –          The School of Toulouse and Languedoc.

  –          The Provence and Burgundy School.

   

  As well as in the case of the Romanesque paint (that will be explained in a separated post) the use of the” Isocefalia” (disposal at the same height of the heads of a group of characters in a painting or a relief) is portrayed in numerous Romanesque sculptures to decorate capitals, walls, and porticos responding to the ecclesiastic propaganda and their standard codes of decorations pursuing to establish a hierarchy of the character represented.

  A derivation occurs in the representation of designs towards the 13th century that can be called as a transitional phase towards the Gothic period. Imitated in a certain way the reality of nature, permeating the sculptures with greater dynamism but in which the artist cannot be complete separated from previous codes of decoration. Some figures made almost as exempt sculptures are the prelude to the next and new period in with these elements of movement, details and perfection rich a high level of execution in some of the artistic work in the late period of the Romanesque sculpture and evolve in accentuated way if they are compared with some of the previous sculptures of the Romanesque period.

   

  

   

  The resulting amalgam of this transition produces very good works but others with no artistic value whatsoever even in the same region; since they are a mix between the old rigid style and the new pushing to establishes. In this transitive time some of the rigidity of the figures is loss as was mentioned before; as well as the symmetry and exaggeration of the straight and vertical line; gaining in delicacy and realistic movement. Some new decorative elements in this Romanesque sculptures such as the use of abundant narrow tiny folds in the clothing are incorporate that were not used before with such detail.

   

  

   

   

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• GOTHIC ART PAINTING

  Posted on September 6, 2014 1:51 pm by Elena Comment

   

  

  GOTHIC ART PAINTING

  As soon as the Gothic style acquire some popularity and a large number of churches, cathedrals and monasteries were built in different European capitals, the traditional fresco painting was declining as to be the medium of choice to decorate the walls, since these had been in that period largely replaced by huge multicolored stained glass windows. Through them light come from the outside showing beautiful and hypnotic paintings made by craftsmen glassmakers whose mastery during the Gothic period reached notorious splendor.

   

  

   

  It is not possible in fact to talk about the Gothic period without mentioning these impressive stained glass windows paints, whose effect on viewers is of undoubted dramatic effect. Among the most notorious stand out those of the Cathedral of Chartres, the cathedrals of Bourges, Tours, Bayeux, the Cathedral of León and the Santa Chapel in Paris. Not forgetting the Cologne Cathedral in Germany and the Amiens cathedral in France. The magnificent windows of the revival period in England are as well wordiest of mention.

  The sole exception in joining this trend was Italy where the stained glass windows did not reach the importance that those had in the rest of Europe during the early and middle gothic. In this country painting at fresco continued having importance in the decoration of the cathedrals and monasteries as well as it was also a support structure that contribute to develop the Sienesa School where some painters highlighted; among them Giotto .

  But the traditional painting had to reformat the basis upon which they will represent religious, mythological, and everyday life issues such as for example the portrait of the bourgeoisie. Painting on wood and illuminated manuscripts became more active part in the plastic media in the 14th century.

  The illuminated manuscripts in the Gothic period continued the custom to combine the colorful paintings with texts to contribute to its understanding and better illustrate the stories narrated. Although in the majority of those manuscripts these paintings are anonymous others have some discrete identification of the Illustrator who made them.

  There are still many manuscripts commissioned specific by Maecenas and others important personalities that are preserves in perfect conditions showing all the splendor and exquisite details that those master illustrators developed. They had survived thanks to have been carefully kept in private collections away from public view or inadequate handling.

   

  

   

  It was not until nearly thirty years has pass since the Gothic architecture was already in the preference of the artists that happens an imperceptible transition in the representations of miniature paintings in manuscripts between the Romanesque period and the one made in the Gothic period. The religious characters start to be represented more natural and realistic in reference to human figures, with details on the representation of their anatomy, about of which those artist previously lack knowledge. The more important miniaturists were Jean Pucelle, Jacquemart of Hesdin and the Limbourg brothers.

   

  

   

  Diptychs and triptychs with religious theme over wood were commissioned by the Church hierarchy to decorate altars, pulpits and different rooms inside of these religious buildings. But the themes represented on wooden boards in that period are not only religious themes because some portraits of bourgeois and wealthy personalities are done as well.

   

  Main Gothic painters’s and their works

  Among the artists who stand out in the Gothic period from very young by his great talent, ingenuity and spirit of innovation is Giotto Di Bondone. Giotto came to be considered one of the most important teachers of the painting of his time, master of other painters, whose style has a keen interest in the pictorial narrative and the spirituality. Human emotions are predominant in his work intensified by the Franciscan influence. He was followed and imitated by many others, among them Andrea Orcagna, Taddeo Gaddi and the painter Tommaso di Stefano, known by its pseudonym “Giottino”.

   

  

   

  Giotto develops in frescos the ‘pictorial space’ an area of three-dimensional feeling that extends in depth behind the painted surface. His most important work was the decoration of the chapel for the Scrovegni family in Padua. Those frescoes made on the walls and vault consist of numerous boxes or “Windows” and are dedicated to narrate biblical themes in so innovative, realistic and emotive way that those paintings constitute a true unparallel art work.

   

  

   

  Contemporary with the Giotto is the works of Duccio Di Buoninsegna. In his most important work “the Maesta” completed in 1311 stands out with amazing use of color. This work, which suffered vicissitudes since its realization shows a complex staged composition but its message is simple to understand thanks to the expressions and gestures of the characters; some of which are looking directly to the Viewer as it is the case of the Virgin Mary. She is represented in a larger size with a majestic and serene pose making the viewer participate in the scene.

   

  

   

  The Limbourg brothers that we mention before among the illustrators of manuscripts managed very well the color in their miniatures. Those paints had a brightness and intensity uncommon for that period. Their magnificent paintings are eloquent of the attention to detail and laborious work applied to them in a conscious effort to represent their surrounding reality. They were also the pictorial decorators of larger size paintings in castles and churches. Their knowledge of various craft specialties learned from youth formed their style and has a significant relevance in the development of their natural talent. Their technique was very advanced for its time achieving to represent the perspective and the tridimensional space with a precision that did not have other painters of the period.

   

  

   

  Their most prominent work “The rich hours of Jean de Berry” a very good example of their pictorial work is perhaps the most famous manuscript ever made. They developed unconventional subjects some of which were made to please their patron and dearest Maecenas (a rich patron of the arts) the Duke of Berry. Their dead that came unfortunately very soon; in the pick of their development as artist, crushed for us the possibility to enjoy now even more examples of their exquisite work.

   

  New painting technique’s in the Gothic period.

  New painting techniques as it is the case in the use of oil for painting over a board allow magnificent realizations where the characters and the scenes in which they are represented show a great naturalness and are also portrayed with details and interest in represent them with realism. This contributed to bring viewers more effectively to the human emotions which are represented such as pain, humility, religious devotion, tragedy or fervent devotional joy. The oil painting allows retouching and application by layers so the final result is polished. this technique known as Impasto where the material is applied in thick layers to wooden panels or canvas; allow craft strokes to be visible and dimensional aspects enhanced. The resulting textured effect of impasto adds a lifelike dynamic quality to imagery.

  These painters not yet dominate the perspective. Their works still do not possess sense of depth. However the way they use color and definition of the figure’s lines supplemented somewhat that lack of knowledge as to how to represent depth and three-dimensionality.

  The painter Jan Van Eyck stood out for his portraits of the bourgeoisie of the time and give to his character’s life through the detail of faces, clothes and hidden messages in the representation of objects or clues in the scenes that convey a great conceptual value. This style applies framework bases that over time the Renaissance painters echoed. His outstanding work was a portrait of a married coupled of bourgeois known as “The Arnolfini portrait “in with the painter himself appear in the mirror besides other wedding guest. Jan van Eyck knew how to mix paints using an innovative combination of oil and egg to produce this masterpiece in the final years of the middle Ages.

   

  

   

  Rogier Van Der Weyden. This Flemish painter work corresponds with the “primitive” movement style. He performed his most outstanding work around the year 1435. “The descent” painted with oil on wood correspond with the late Gothic. He performed less intellectualized and simpler models to be better understood by viewers and therefore his style reached widespread. He intensifies the emotional representation of its characters and achieves a compositional rhythm in the scenes. The function of these paintings is taken into account. This work was made for a triptych but remains only the central panel nevertheless it shows the effort to organize the composition based on where it would be located. That is the case in Roger Van Der Wayden work’s in  “The Last Judment Polyptych” (1445-1450).

   

  

   

  Jean Fouquet an excellent miniaturist artist representant of the French painting in the Gothic period made its little traditional “Madonna and child” in 1450 that breaks with the old canons of representation of the divine Madonna. The Virgin represented by Jan Fouquet is showing a bare-breasted female and a contemporary attire of the time. This Madonna has a face that departs from the common appearance conferred to the Virgin traditionally and which could well be the face of a coetaneous bourgeois woman as it was rumored in fact by scholars. The deep red color that will represent the figures surrounding the mother and child are also fairly unconventional that will emphasize subtly elements that differentiate the good from the evil.

   

  

   

  Geronimo Bosch is among the great painters we cannot fail to mention. His unconventional and unique style delivers wide range of skills that opens the thinking of many of his coetaneous. His mainly and must famous work was the almost dream-like representation of “The garden of earthly delights”. Bosch brings to us an apparent mad composition that stuns the spectators with the complexity of its arrangement. Hundreds of orgy carefree characters in this paint are illustrated in a spooky vision of this biblical passage. Moralizing elements converge in an obvious bizarre composition that shows vices, evil, perversity, betrayal, lust and gluttony among other sins portraying the outrageous behavior of a corrupted humanity.

   

  

   

  The symbolism of the characters, the representation of their actions and the presence of numerous animals in various micro- scenarios within the composition contribute to the perception of it as though the viewers are recalling a very unusual but colorful nightmare. The use of color supports the intention of establishing several planes in the composition. The gestures of the characters; most of them naked, emphasize the drama and intention of the actions.

  Jean De Beaumetz 1335-1396, among other Gothic painters make efforts to represent certain deepness in his works and was trough the use of the color and the position of the characters in the scene that he give us his best version of a much natural reality. He was a Franco-Flemish painter belonging to the international style. This painter mixes with Parisian elegance and flamenco mysticism style his work. In his paint “Christ on the cross with a monk” represents the dramatic scene in which Christ is crucified and where the characters broken down by pain transmitted with the gestures of their hands the paroxysm of the scene in a fairly flat and simple background. The colors of their clothes reveal the identity of the characters represented with which the viewer can identifies almost immediately.
  

   

  Memmo di Filippuccio 1250-1325 also from the Sienesa School. Developed fresco painting where the use of color highlights the emotions of the characters. An example of his work is the fresco ‘ Madonna and child between Saints Pedro and Santiago”. Others painters from the Tuscan school are also distinguished, particularly the work of the artist Giunta Pisano in the 13th Century deserve to be mentioned.

  In Germany the Gothic painters left us beautiful examples of their works in which new techniques were applied in painting and although the styles that were expressed were diverse the predominant use of color was a constant that emphasized the elements that they want to highlight. As a prominent example can be mentioned the painter Hans Holbein “the old” gothic painter of the 15th century, whose theme is mainly religious but he also made portraits. One of these examples is the portrait of ‘Ulrich Schwartz and his family”.

   

  

   

  Although the Gothic painting came to have a wide range of styles, schools, trends and different palettes there is no doubt that those painter’s reflect their surroundings and the particular characteristics of the regions in which they lived or visited. In each European country they achieve to express their style according to their artistic heritage, local costumes, religious believe, social circumstances and their individual talent that in that period started to be recognized as such reaching the artist social importance and consideration among this medieval but also bourgeois society.

  The constant introduction of new techniques, pigments, and materials contribute to the diversity and outstanding art pieces created in the gothic period painting. They artist always were looking to found ways to represent perspective and three dimensionality but the right way to do this will not be a reality until the Renaissance period.

   

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  📂This entry was posted in Gothic Art painting 📎and tagged frescos in gothic period Giotto gothic manuscripts gothic stained glass windows

• GOTHIC EUROPEAN ART

  Posted on June 22, 2014 9:28 pm by Elena Comment

   

  

   

   

  Gothic European art

   The Gothic art derived from Romanesque art and introduces new ideas, techniques and above all a new way of Christian thought which drive would give the necessary introductory step to the Renaissance. The increase of commercial activities occurring in the period corresponding to the late Middle Ages, coupled with the growth and development of cities, the gradual emergence of the bourgeoisie and a large number of new religious orders, conducive conditions to make it possible as artistic style.

  The Gothic art was initially developed as a different style of architecture in the North of France to the year 1140 and continued evolving and spreading to the rest of Europe after incorporating other means of artistic expression such as sculpture, stained glass, fresco and illuminated manuscripts. The realization of painting on wooden boards or panels is not incorporated to the new style until approximately the year 1200 (around 50 years after this phenomenon came about in architecture and sculpture).

  The solidification of important elements for their creation won nevertheless against the initial rejection faced and the critics by the Renaissance authors further in time who stigmatized the new style as a threat and artistic debacle of the traditions and values of classicism as they perceived in their rigid eyes and believes. Furthermore the Gothic term was used pejoratively by their opposite’s as a synonym for barbarians as they usually referred to the Goths. Although of course this art nothing has to do with the art of the Goths. The artist and Italian writer Giorgio Vasari popularized the term; and use it as early as the year 1530. This style was severely criticized until it was finally recognized as an art form.

   

  

   

  As we mentioned its beginnings dating back to when the choir of the Abbey of Saint Denis was constructed, work in which already are highlighted elements of the Gothic although their promoters do not called with that name. They also highlight these new elements in the reconstruction works of the Cathedral of Chartres after the fire, carrying out for a long period of time the reconstruction work using the Gothic style. It is an interesting example of how was introduced it, in this case on the basis of a cathedral which was originally Romanesque.

  There are distinctive elements in the realization of the works done in this style in every country in Europe, even local variations within them were adopted, but nevertheless can be perceive unifying elements with maintain the essential traits that represent it at the general level especially in religious art.

  Gothic architecture  art is magnificently expressed in all kinds of civil, military or religious building, private houses and palaces where luxury and proliferates decoration predominate above the intention to achieve height like the cathedrals did and is granted special attention to the construction of public buildings, castles, bridges, fortresses and churches.

   

  

   

  In reality, the highest value of these centuries work was the Cathedral, which possess in the Gothic period urban character in contrast to the Romanesque churches that were made mainly in rural areas. Only can one imagine the amazement of villagers whose majority lived in huts; shock by the glittering decorations and sculptures made in white and polished stone, the feeling of humility that must have they experienced front monumental height and daunting appearance of these buildings.

   

  

   

  The constructive elements essential in Gothic architecture are:

  -The pointed arch.

  -The Gothic ribbed Vault.

  – Flying Buttress.

  This extraordinary architecture never ceases to astonish those who contemplate it for being dynamic balanced and dominate in the vertical line, which produces an impression of upward propulsion, accentuated by the acute forms of the arches and the abundance of sharp elements. These buildings reach heights of vertigo in its search for approaching God. The Gothic towers ending in pointed conic geometric bodies; like if they were elaborate lace in stone seems to defy the laws of physics in some regions.

   

  

   

  Chief Architect in whose charge was the synchronization of all the constructive aspects straitened to maximize the possibilities of new techniques that put into action what it was a formidable feat of engineering ability. He coordinated the work of craftsmen; that already then had settled in cities and perfected the trades. Their professional knowledge was passed from families to their descendants’ for generations, putting their skills to the service of these construction works for which were highly appreciated; even sometimes exempt from taxes while they were working in the buildings.

  The narratives stained glass huge and plentiful that replaced the decoration made in frescoes at the extensive walls in Romanesque churches, now take a leading role thanks to the possibilities to disseminate the message of faith more effectively from the light which penetrates through them. The stained-glass windows produce an hypnotic feeling in the filigrees, the light gives the mystical atmosphere sought to achieve by artists, instructed by the clergy; who was the one to commissioned those stained glass windows that become an impressive homage to the light; the real essential protagonist through which they tried to approach God.

   

  

   

  This is one of the most notable features of the Gothic and the one for which is credited and difference. In the realization of them collaborated financially rich and poor, each Guild felt honored to be represented in these Church stained glass windows been represented all the trades; Masons, carpenters, blacksmiths, bakers, weavers, merchants, glassmakers and even the prostitutes.

  Among the best examples of stained glass windows are those that are performed in the Cathedral of Chartres, the Cathedral of Notre – Dame de Amiens, Notre-Dame de Paris, Saint Denis and the stained glass windows of the chapel of Sainte-Chapelle; made to decorate the place where was placed the Crown of thorns; one of the relics more idolatrize in an age whose religion reveres and represents in their works of art the martyrdom of Jesus and the descent from the cross as a highly of the Christian sacrifice. The English cathedrals with their over the top and abundant elaborate designs are not left behind. But also the Germans produced exquisite and very particular works that leave the audience stunned to such a construction achievement.

  Painting on board in Gothic period appears from the fourteenth century, consisting of small portable altars and altarpieces, formed by one or several panels. They try religious themes, with great finesse of detail in the human figure, but no intension of depth. The painters strive to reproduce the naturalness of movements and gestures with accuracy; a bit exaggerated to the dramatic side though, looking to show piety, humility, stoicism as well as other gestures and postures that help promote the religious message. It was not important the spatial proportions sense, neither is the perspective entirely realistic as long as it was understood. The most beautiful of these Gothic tables is their colorful look, glowing with intensity. The figures clearly established categories among the characters represented by the size in which they are drawn.

   

  

   

  Gothic sculpturemaintains the character of propaganda of the faith as they did in the Romanesque period. Craftsmen and artists represent though progressively virgins, Saints and angels with more expressivity, dynamism and volume noticeably differentiating them from the Romanesque predecessor sculptors.

   

  

   

  There are also represented Kings, prophets and allegorical figures that fill the interior and exterior of the building, topped by pinnacles, covering the friezes and the archivolts, tympana and all possible spaces to which the figures were added in perfect harmony with the space they occupy. To give idea of the magnitude that reached the sculptural decoration, just know that the decoration of the Cathedral of Chartres in France has more than 8,000 figures.

   

  

   

  The illuminated manuscripts in Gothic period reached a master and Supreme beauty, many of them despite representing numerous elements at a time in the scenes throughout; manage to reflect the message with ingenious simplicity based on the use of color and the detail of the figures so that it can be understood by those who are aimed; many of them couldn’t read since only a privileged few learned.

   

  

   

  Although initially the manuscripts were only made by monks, artists and people who dominated the technique join the artistic realization latter and were paid by completing these types of works, among them were women. To these paintings in manuscripts are added gold pigments that make them shine, that’s why the name of “enlightened”. Frequently letters or texts were combined with drawings to best contribute to its understanding and differ from the Romanesque manuscripts in the better management of the detail of the figures showing that these artists had knowledge about the anatomy of animals and men that was lacked by their predecessor.

  The Gothic European art that included a vast period is established and develops over four centuries, come into being important to the civil architecture and free the other art manifestations of their subordination to the architecture. Gothic artists use the “Transfigured light” of stained glass as a key element, which virtually dissolve the building material elements, getting the viewer in to experience mystical feelings of elevation and weightlessness. This style gave way with his novel perspective of creation and technical skills to the Renaissance period.

   

  Coming soon will be addressed in other articles more detail concerning the architecture, painting and sculpture.

   

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  📂This entry was posted in Ghotic European Art 📎and tagged Gothic Art general profile Gothic Cathedral Narrative stained glass