Gothic Sculpture
Comparative Civilizations 12
Kevin J. Benoy
Evolution From Romanesque
Romanesque sculpture
served a decorative
function and tended
not to exist separate
from the architecture
that it resided in.
Note this 12th century
example from
Haughmond Abbey in
Shropshire, England.
Evolution From Romanesque
Romanesque
sculpture
tended to
exhibit a rigid
symbolism
that separated
it from the
natural world.
Tympanum, Autun Cathedral
Evolution From Romanesque
The symbolic
differentiation in sizes
of figures is lost.
Even Christ is now
depicted
proportionally to lesser
souls, as in the South
transept tympanum of
Chartres Cathedral.
Gothic Realism
…And Mary in a
“Death of the
Virgin” tableaux.
The new Gothic
style eventually
showed a realism
that was
startling.
Tympanum, Strasbourg Cathedral
Gothic Realism
•Annunciation and Visitation, jamb statues, west
portal, Reims Cathedral, c.1225-1245
The Gothic Style
Sculptural forms
slowly lost their
function as
architectural
detailing.
As is seen in the
change from the
decoration of
Chartres Cathedral
from the earlier
West portal to that
of the North
transept.
The Gothic Style
It would not be
difficult to imagine the
jamb figures from
Chartres Cathedral
existing free of their
architectural
constraints.
Gothic Sculpture Revived
Classical Form
There is a
reappearance of the
style of drapery seen
in late classical
sculptures.
It reflects natural,
rather than symbolic,
form.
Gothic Sculpture Revived
Classical Form
We even find a revival of the
classical contraposto stance, as
can be seen in the Virgin of Paris
(Notre Dame).
Gothic Humanity
While Romanesque
sculpture tended to be stern,
Goth sculpture became
warmer, much of it
showing a kindly view of
life.
Gothic Humanity
The Wise Virgins
Magdeburg
Cathedral
Gothic Humanity
Last judgment
scenes, so popular
in the Romanesque
period, are less
popular, and
tympanums are
now graced with
happy or emotional
scenes from this
life and the next.
Coronation of the Virgin,
Strasbourg Cathedral
Gothic Humanity
The Kiss of Judas, Naumburg Cathedral
Gothic Humanity
Saint Joseph, Rheims Cathedral
Extreme Emotion
Wooden sculpture was an art
form much admired in Germany.
The finished product was vividly
painted.
Though the Pieta shown to the
left might not appear as
“realistic” as other Gothic
sculptures. The emotion
portrayed is very real. The
physical exaggeration and lurid
colour serve to heighten the
emotional impact.
Claus Sluter
Most Medieval sculptors
remain anonymous, known
only as the “Master of
Naumburg” or of another
location.
One late Gothic sculptor is
well-known, Claus Sluter.
This Netherlandish sculptor is
one of the greatest craftsmen
of all time.
Claus Sluter – Chartreuse de
Champmol Sluter did most of
his work for the
Duke of Burgundy,
one of the
wealthiest and most
powerful men of his
day.
At Chartreuse de
Champmol, his
sculptoral figures on
the cathedral portal
form a unified scene
that overshadows
the architecture.
Claus Sluter – Chartreuse de
Champmol
Jamb statues in the scene
attend to the Madonna on the
Trumeau.
Phillip the Bold, Sluter’s
patron, is shown
worshipping the Holy Virgin.
Claus Sluter –The Moses Well
Within the church lies
another of his
masterpieces, the
Moses Well.
Here are some of the
Middle Age’s most
vivid portrayals of
humanity.
Claus Sluter – The Moses Well
Claus Sluter – The Moses Well
The Prophet Jeremiah
The Moses Well, Chartreuse de
Champmol
Claus Sluter – Tomb of Phillip
the Bold
Sluter’s last work was a commission he picked up from
another master, whose workshop he took over.
Sluter, himself, died before it was completed.
Italian Gothic
In sculpture, as in
architecture, Italy, for the
most part, did not mimic
the style of the European
North – now described as
International Gothic.
Classical models had a
much greater influence.
Italian Gothic – The Pisano Family
Nicola Pisano is one
of the best known
Italian Gothic
sculptors.
He installed the
marble pulpit of Pisa
Cathedral’s Baptistry
in 1260.
Its panels have a
distinctly classical
look.
Nicola Pisano – Pisa Baptistry Pulpit
Giovanni Pisano
Nicola’s son,
Giovanni,
upheld the
family’s
reputation for
outstanding
craftsmanship.
Italian Gothic
Italian sculptors were
less inclined to create
grand sculptural
concepts, focusing
instead on smaller,
more limited creations.
Nino Pisano, La Madonna del Latte
Finis