AP ART HISTORY
Chapter 16 Gothic – Comparative Analysis Assignment
Mrs. Lawson
Due:____________________________
Directions: Read assigned pages. Collect data on the artworks listed below. Note: Check the beginning of the chapter for historical and cultural
information.
ARCHTECTURE
ANALYSIS
WORKSHEET
Page 1
St. Denis Cathedral,
Pgs 550- 553
CRITERIA:
Title(Architect if Known)
Artistic Time Period / Date
Location / Relationship to site
(geography, climate, geology,
etc.)
Medium/Materials /
Construction / Building
Techniques / Terms
Function / Purpose /
Symbolism / Iconography
Location / Site / Orientation /
Form / Sculptural Decoration
/ Principles & Elements of
Design-Scale/Size/Proportion
Space / Light
Relationship to site: geography,
climate, etc.
Axis / Interior Organization /
Plan
Style / CharacteristicsCommonalities / Patron /
Architect / Influences / Key
Concepts
Relationship to cultural
belief system (Religious)
Ritual
Relationship to Context:
Social
Political
Economic
Power & Authority
Other relevant structures
and/or criteria
France
Chartres Cathedral,
Pgs 553-561
France
Notre Dame Paris,
Pg 564
France
AP ART HISTORY
Chapter 16 Gothic – Comparative Analysis Assignment
Mrs. Lawson
Due:____________________________
ARCHTECTURE
ANALYSIS
WORKSHEET
Page 2
Notre Dame Amiens,
pp 561- 563
CRITERIA:
Title(Architect if Known)
Artistic Time Period /
Date
Location / Relationship to
site (geography, climate,
geology, etc.)
Medium/Materials /
Construction / Building
Techniques / Terms
Function / Purpose /
Symbolism /
Iconography
Location / Site /
Orientation / Form /
Sculptural Decoration /
Principles & Elements
of DesignScale/Size/Proportion
Space / Light
Relationship to site:
geography, climate, etc.
Axis / Interior
Organization / Plan
Style / CharacteristicsCommonalities / Patron
/ Architect / Influences
/ Key Concepts
Relationship to cultural
belief system (Religious)
Ritual
Relationship to
Context:
Social
Political
Economic
Power & Authority
Other relevant
structures and/or
criteria
France
Notre Dame Reims,
pp 561- 568
France
Sainte Chapelle in Paris,
pp 568-569
France
AP ART HISTORY
Chapter 16 Gothic – Comparative Analysis Assignment
Mrs. Lawson
Due:____________________________
ARCHTECTURE
ANALYSIS
WORKSHEET
Page 3
Salisbury Cathedral,
pp 576-579
CRITERIA:
Title(Architect if Known)
Artistic Time Period /
Date
England
Church of St. Elizabeth,
pp 585-586
Germany
Florence Cathedral,
pp 590
Italy
Location / Relationship to
site (geography, climate,
geology, etc.)
Medium/Materials /
Construction / Building
Techniques / Terms
Function / Purpose /
Symbolism /
Iconography
Location / Site /
Orientation / Form /
Sculptural Decoration /
Principles & Elements
of DesignScale/Size/Proportion
Space / Light
Relationship to site:
geography, climate, etc.
Axis / Interior
Organization / Plan
Style / CharacteristicsCommonalities / Patron
/ Architect / Influences
/ Key Concepts
Relationship to cultural
belief system (Religious)
Ritual
Historical / Social /
Political Power/Authority
Other relevant
structures and/or
criteria
Magdalen
College = Perpendicular Style
Siena Cathedral, Pisano
Strasbourg Cathedral
AP ART HISTORY
Chapter 16 Gothic – Comparative Analysis Assignment
Mrs. Lawson
Due:____________________________
SCULPTURE
ANALYSIS
WORKSHEET
Page 4
CRITERIA:
Royal Portals,
Chartres Cathedral,
(Artist if Known)
Title:
Artistic Time
Period / Date /Orig.
N Portal/ W Portal, Reims Cathedral,
Pgs 564-568
S Portal, Strasbourg Cathedral,
pgs 586-587
Pgs 553-561
France
Location /
Relationship to site
Medium/Materials
Type / Method /
Technique /
Process
Pictorial Space /
Composition /
Principles &
Elements -Scale /
Size / Proportion /
movement-gesture /
positive-negative
space
Expressive
Qualities / Figural
Representation /
stance-presentation /
anatomical detail /
correctness /
expression /
Formorganic/geometric
Function / Purpose
/ Patron / Audience
Subject / Content /
Meaning /
Symbolism /
Iconography /
Narrative
Context:
Social
Political
Economic
Power & Authority
Cultural belief
system (Religious)
Artistic / Stylistic
Characteristics /
Commonalities
Other relevant
artworks & criteria
S Entrance, Chartres Cathedral
France
Germany
AP ART HISTORY
Chapter 16 Gothic – Comparative Analysis Assignment
Mrs. Lawson
Due:____________________________
SCULPTURE
ANALYSIS
WORKSHEET
Page 5
CRITERIA:
(Artist if Known)
Title:
Artistic Time
Period / Date /Orig.
Location /
Relationship to site
Medium/Materials
Type / Method /
Technique /
Process
Pictorial Space /
Composition /
Principles &
Elements -Scale /
Size / Proportion /
movement-gesture /
positive-negative
space
Expressive
Qualities / Figural
Representation /
stance-presentation /
anatomical detail /
correctness /
expression /
Formorganic/geometric
Function / Purpose
/ Patron / Audience
Subject / Content /
Meaning /
Symbolism /
Iconography /
Narrative
Context:
Social
Political
Economic
Power & Authority
Cultural belief
system (Religious)
Artistic / Stylistic
Characteristics /
Commonalities
Other relevant
artworks & criteria
W Chapel, Naumburg Cathedral,
pgs 587-590
Germany
Baptistry Pulpit,
pgs 592-594
Italy
S Doors, Baptistry of San Giovanni,
pp 594-595
Italy
AP ART HISTORY
Chapter 16 Gothic – Comparative Analysis Assignment
PAINTING &
OTHER
ARTWORK
ANALYSIS
WORKSHEET
Page 6
CRITERIA:
Mrs. Lawson
Due:____________________________
Duccio, Virgin & Child in Majesty, pgs 595-597
Martini, Annunciation,
Artistic Time Period
/ Date / Orig.
Location /
Relationship to site
Medium / Materials
/ Type/ Method /
Techniques /
Process
Pictorial SpaceComposition /
Organization /
Principles & Elements
/ figure-ground / depth
/ color / movement /
line – shape / balance /
unity / view point /
proportion- size/scale
Expressive Qualities
/ Figural
Representation
Function / Purpose /
Concept / Patron /
Audience
Subject / Content /
Meaning /
Symbolism /
Iconography /
Narrative
Context:
Social
Political
Economic
(Power/Authority)
Cultural belief
system (Religious)
Artistic / Stylistic
Characteristics /
Influences Changes
Other relevant
criteria
Cimabue, Virgin & Child Enthroned, pp 600-
pp 597-598
Title
Artist (If known)
Italy
Italy
Italy
AP ART HISTORY
Chapter 16 Gothic – Comparative Analysis Assignment
x
PAINTING &
OTHER
ARTWORK
ANALYSIS
WORKSHEET
Page 7
CRITERIA:
Title
Artist (If known)
Artistic Time Period
/ Date / Orig.
Location /
Mrs. Lawson
Due:____________________________
A Lorenzetti, Allegory of Good
Giotto, Arena Chapel Fresco Cycle,
Government (City & Country)
Pgs 598-601
Lamentation
Pgs 603-607
Italy
Italy
Italy
Relationship to site
Medium / Materials
/ Type/ Method /
Techniques /
Process
Pictorial SpaceComposition /
Organization /
Principles & Elements
/ figure-ground / depth
/ color / movement /
line – shape / balance /
unity / view point /
proportion- size/scale
Expressive Qualities
/ Figural
Representation
Function / Purpose /
Concept / Patron /
Audience
Subject / Content /
Meaning /
Symbolism /
Iconography /
Narrative
Context:
Social
Political
Economic
(Power/Authority)
Cultural belief
system (Religious)
Artistic / Stylistic
Characteristics /
Influences Changes
Other relevant
criteria
P Lorenzetti, Birth of the
Virgin, Siena
Rose Window, Chartres Cathedral, pp 559
Virgin & Child Enthroned
AP ART HISTORY
Chapter 16 Gothic – Comparative Analysis Assignment
Mrs. Lawson
Due:____________________________
France ___________________________
England & Germany _________________
Italy______________________________
NAME: ________________________________________________________________
CHAPTER 16
GOTHIC ART
ANALYSIS PACKET
DIRECTIONS: Use attached worksheets to record information from reading homework
assignments. On the reading due date, turn in each assigned analysis worksheet to Mrs.
Lawson for a Reading-check grade. Add information from class discussion to the returned
worksheets. Upon completion of chapter, place analysis packet into the turn-in drawer for
a completed-packet grade.
Architecture
Sculpture-in-the-Round
Architectural & Relief Sculpture
Painting
AP ART HISTORY
Chapter 16 Gothic – Comparative Analysis Assignment
Mrs. Lawson
Due:____________________________
Chapter 16 Gothic Art
Term refers to both the style of visual arts and the culture - from c.1140 (50) and lasted through the 1200s (13 th
century) and 1300s (14th century).
Origin of the Term “Gothic”- Gothic was a name coined by the Renaissance artist and art historian Giorgio Vasari to
describe a style of architecture he found distasteful. Vasari is an important figure in art history because of his
descriptions of the lives of famous Renaissance artists, and his is often referred to as the Father of Art History.
Captivated by Classical Greco-Roman culture, Vasari likened the European structures built in the centuries preceding
the Renaissance as architecture that only the Goths could have produced. The Goth tribes were blamed for the decline
of classical civilization because of their incursions into the Roman Empire. Therefore, when Vasari compared the
artistic and architectural creations of the 13th and 14th centuries to the work of Goths, he was insulting the period.
AP Exam Strategy
Questions concerning the Gothic period will encompass 7-10 percent of the points on the exam. Past tests have
displayed pictures of the interiors of Gothic churches and have asked two or three multiple-choice questions about parts of the
churches and architectural innovations of the Gothic period. A variation of this was a slide-based short essay question that
asked students to identify the style of architecture and explain its key features.
Historical/ Social/Religious Background- Period of great change
Historical
-1215 = Magna Carta - signed in England=>limiting powers of the King
-1337-1453 = the Hundred Years’ War- between France & England
-14th century (1300's) = Black Death - plague- killed 1/4th of its people (Stokstad pg 607)
-1378-1417= Great Schism - opposing Popes in Rome & Avignon => political/religious crisis
Social=>
-towns become urban centers (=>cities) / urban culture begins to take shape/European cities emerge into political,
economic, and artistic dominance- (still rural by today) => Modern nation states of today begin to be discernable
-commerce & trade increase => guilds are formed= artisans and merchants of all types formed associations to
advance their professional interests / also played social role = safeguarding members; political interest, organizing
religious celebrations, and taking care of family members in times of trouble
-new universities are founded (take place of rural monastery schools) - run by professional guilds of scholars -1st
European University was in Bologna, Italy (11 th century) - followed by universities in Paris/ Cambridge/ Oxford
Paris-Dominated the later Middle Ages - all roads led to Paris (change from Rome)
-center to a revival in learning at newly founded university
-seat of French government
-overseen by King Louis IX (later S. Louis) r. 1226-1270
-monarchy had the power and respect of Charlemagne/more influence than the pope
- known as the “king to all his people”/ associated with fairness and justice
-sent royal commissioners into the countryside to monitor the administration of local government and ensure
justice for all
-outlawed private warfare and abolished serfdom
-granted subjects the right to appeal to higher courts
-peace keeper among the other European powers
-continued a remarkable building program in Paris
-relative security and productivity under Louis’s reign/ but not long
-cost of the building program in Paris
-France suffered the expense of fighting the Hundred Years’ War 1337 - 1453 / basically a fight over the secession
to the French throne
-none of Louis’s successor Philip IV’s sons produced a male heir
-instigated by Edward III of England r. 1327-77
-claimed nephew of the last Capetian king was rightful ruler of France
-as French kings increased taxes to support a losing battle
Religious=>
-urban cathedrals (seats of ruling bishops ) takes the place of rural monasteries as centers of religious patronage /
religious centers function like a town within a town / grandeur of centers inspired love and admiration / expenses and
intrusive power of their bishops inspired resentment and fear
-rifts appear between spiritual and secular authority - Magna Carta
-two new religious forms of Christianity appear => Franciscans & the Dominicans- went out to preach to those in
need- no longer confined to monasteries / St. Francis of Assisi -gave up worldly possession to live life of charity &
poverty => teachings - God could be known through observation of “Nature”-belief that animals are Gods creations
too
AP ART HISTORY
Chapter 16 Gothic – Comparative Analysis Assignment
Mrs. Lawson
Due:____________________________
-crusades continued (second to ninth)- leads to contact with Byzantine & Islamic cultures=> literary works of
classical antiquity- Aristotle / problem because- promoted rational inquiry rather than faith as the path to truth
(conclusions did not always fit with the church doctrine) / Thomas Aquinas- “Scholastic Philosophy” => brought
together faith & reason => base for today’s Catholic thought
The Arts:
-other distinctive art forms among nobility=> poetry & music– center concepts of “courtly love” (see Stokstad pg
549)
-growth of private patronage of the arts (former= Church)
-we know more names of individual artists & patrons
-various regional styles become the International Gothic Style (or Beautiful Style)=> elegant, soaring interiors, the
light colors and sense of transparency produced by stained glass–was adapted to all types of structures = town halls,
meeting houses, market buildings, residences, and Jewish synagogue, as well as churches & palaces
-beginning of separation of design & structure=> emergence of the idea of design as a separate category of endeavor
ARTHITECTURE - Gothic Era => one of confidence and daring / buildings reflect religious ideals and enthusiasm = age of
inspiration and aspiration
The Gothic Style-(after Classical & Egyptian next longest lasting style in history -began in France =Ile de France 1250-1450
 Paris was an important source of inspiration for the rest of France, Germany and England
 developed regional “flavors” of the Gothic style=> expression of the human spirit in the arts
 Italy remained separate aesthetically- preferred the classical style
 named for Goths - thought was barbaric
 by mid 16th (1550's)century was at an end in France
 continued to influence artists in Germany and England until the 17 th century
 originally called the “French Style” - referred to architecture (dominates)
 age of cathedrals of northern Europe
 strongest example => demonstrated in the architecture => the Gothic Cathedral - surpassed classical architecture
in terms of technological daring

developed from Romanesque =>St. Sernin in Toulouse
Review: Romanesque = broad and massive characterized by:
semi-circular arches
thick walls
closely spaced supports- create a feeling of security
solid & heavy = bound to the earth
small windows
Philosophy Change- Abbot Suger=> Inventor of the Gothic Style
-Abbot Suger= abbot of royal monastery & church St. Denis
-found spiritual inspiration in the gleaming, bejeweled object in the church treasury and in stained glass=> lead to view
-wrote three treatises on the topic
-Quote: “through the contemplation of luxurious secular materials, one’s spirit might soar upward to contemplate
more fully the realm of God.”
-philosophy gave birth to the Gothic style- which turned away from low dark, thick-stoned, dimly illuminated
Romanesque
-Church should be a place of great physical beauty that inspires hope in the beauty of paradise (heaven)
-wrote about embellishing the church with gold & jewels
-one of first areas of Saint-Denis rebuilt = ambulatory- intricacy of vaulting techniques (ribbed vaults)- constructed by
intersecting pointed arches
-lead to Gothic style => rise to the heavens/airy and delicate/soaring quality = vertical is emphasized/walls are thin
with vast windows of stained glass
***opulence still an issue ==> another Abbot condemns Suger’s ostentation = “synagogue of Satan”
-Important structural innovations1.
1. pointed arches and vaults => less lateral thrust than the semi-circular Romanesque arches & vaults
-more flexible
-ribbed vault can be used in a variety of floor plans and built to any height (theory)
-used to increase both the real & illusionary height=> artists vied for the highest naves (Amiens @ 144ft)
-provided extra height = pointed arches -opened up space and give greater sense of verticality
-steeper slope more directly transfers weight from the roof to the piers = allowed for higher walls
-opened up greater amounts of area for windows- stained-glass windows filter sunlight & provide a
multicolored display of light inside the church= enhances the feeling of spirituality
AP ART HISTORY
Chapter 16 Gothic – Comparative Analysis Assignment
Mrs. Lawson
Due:____________________________
-Two new engineering breakthroughs:
2.
Rib Vaulting = used to concentrate the weight of the vault at certain points =eliminate the walls between the points
3.
Flying buttresses = introduced in response to the problem created by the lateral thrust exerted by a true vault = a solid
mass of masonry used to reinforce a wall “flying” part was the exterior arch– projected outward on the exterior of
the building and cannot be seen from inside through the stained glass windows.
Gothic Cathedrals=>Quest for Height & Light
 a symbol of civic pride (invaders worst insult was to pull down the tower)=> all segments of the population
participated in construction
 so elaborate construction took ages (why some seem a miss match of styles)

theologians believed a church’s beauty would inspire parishioners to meditation and belief => result were texts,
with volumes of ornaments preaching the path to salvation
*Illustrates Suger’s idea about the Significance of space and light
-Suger believed god was light from readings (Dionysus)
-divine light also condensed in specific objects (precious stones)
-goal to reflect God’s light back toward the being that created them
-Suger believed St. Denis was and outward sign of homage to God
Evolution of the Gothic Period – As more architects adopted the ideas of Abbot Suger in their church designs, the Gothic style
spread, replacing the Romanesque style. The Gothic period lasted two centuries, during which it evolved. Art
historians separate this evolution into subcategories based on the distinctive characteristics of each.
The Early Gothic period refers to the period in the late 1100s, as French architects began to implement the ideas of Abbot
Suger. Some of the designs retained the Romanesque features, but specific changes in the nave elevation & vaulting
techniques marked the beginning of the Gothic style.
The High Gothic refers to the middle of the period, 1200s. This is when the Chartres Cathedral was rebuilt after a fire in 1194.
During the High Gothic period, architects began to decrease the surface area of the walls and incorporate more stainedglass windows. When a High Gothic church has vast amounts of windows, it is said to be in the Rayonnant or radiant
style.
The Late Gothic period occurred during the 1300s &1400s. In parts of France, it is called the Flamboyant style because the
pointed arches and extensive tracery (ornamentation) on the buildings’ exteriors resembles flames
Media & Techniques
1.Sandstone, limestone, marble (Italy), & brick (northern Germany) used for foundations, walls & vaults
2.Slate, lead, & tile used for roofing
3.Timber used for roofing & for centering & bracing during construction
4.Concrete not used; mortar used to join stones or bricks
5.Stained or clear glass used for windows
6.Arch principle basis of Gothic construction – ribbed vaults with pointed arches (allowed all segments of vault to be
constructed at the same height & provide increased strength
7.New technology & design transmitted by member of masonic lodges & craft guilds (traveled to construction sites throughout
Europe
DESIGN - Regional & chronological differences continue-General features include:
1.Ribbed vaults
2.Pointed arches
3.Flying buttresses
4.Modular bay systems
5.Large windows (EXCEPT Italy)
6.Verticality emphasized (EXCEPT Italy)
7.Interiors = compound piers with clusters of colonettes running from floor to ceiling / tall wide structures/ slender proportions /
less massive walls
8.Exteriors = pier (pier-shaped stone or brick support attached to wall for strength against thrust of wall) & flying buttresses
(arch transmitting thrust of vault to outer pier or wall) / blind arcades & arches / triangular gables, pointed roofs, spires, &
finials
AP ART HISTORY
Chapter 16 Gothic – Comparative Analysis Assignment
Mrs. Lawson
Due:____________________________
FRANCE
-began in France =Ile de France-1250-1450- Paris was an important source of inspiration for the rest of France, Germany and
England
Early GOTHIC DESIGN
Exterior features include:
1.Twin-towers facades, based on St. Etienne, Caen
2.Divisions of facades into horizontal & vertical bands
3.Porches projecting strongly from recessed triple-portals & covered with complex sculptural programs
4.Towers at crossings & transepts
5.Rose windows above the central portals
Early FRENCH GOTHIC STYLE
Interior features include:
1.Vaults with structural ribs (in-fill not structural)
2.Beginning of exoskeleton system of ribs & buttresses with screen walls
3.Square schematism & alternating support system
4.Double aisles & double ambulatories
5.Half the length of the church (usually) held chevet (apse, ambulatories, & chapels)
6.Six-part nave vaulting
7.Four-part nave elevation = nave arcade, gallery (tribune), triforium (small arcade), clerestory
High Gothic in France c. 1194-1300
“classic” Gothic = Ideals of style perfected
1.True exoskeleton construction used with flying buttresses
2.Exterior features include: more plastic, sculptural façade treatment, open tracery towers without real wall surfaces, rose
windows, transepts do not extend beyond width of the façade
3.Interior features include: 4-part vaults (replace 6-part), 3-part nave elevation (replacing 4-part) = nave arcade, triforium,
clerestory, identical rectangular bays replace square schematism & alternating support system, equal height for nave arcade &
clerestory
4.Wall surface almost nonexistent (more open space)
Late Gothic (Flamboyant Style) in France c. 1300-1500
Churches look more like jewel boxes or elegant sculpture
1.Ornamental surface treatment emphasized over structural clarity
2.Flamboyant Style named for flame-like pointed tracery attached to every surface
3.Cavernous portals & open tracery dominated facades
4.5-part facades reflect the interior arrangement of 4 aisles & nave
5.Crossing towers (no façade towers)
6.Building smaller than High Gothic structures
Regional “flavors” of the Gothic style (France, England, Germany, Italy)= Expression of the “human” spirit in buildings,
statues, metalwork, and textiles
English Architecture – The High Gothic period is called the Decorated style, and the Late Gothic period is known as the
Perpendicular style. It is helpful to use the adjective English before saying or writing these two style names because
it makes test readers know that you understand that these styles are different from the French Gothic styles.
3 distinct styles:
-Early English (Lancet) 1150-1250 = Clear geometric units, lancet-shaped windows without sculptural embellishment
-Decorated 1250-1350= rich, sculptural foliate decoration on arches, vaults, etc., crossed lines of tracery in windows
-Perpendicular 1300-1500 = perpendicular intersections of tracery & lattice work on walls & windows, fantastic fan vaults &
pendant roof-bosses
•Influenced by Cistercian & Northern Romanesque styles
•Less concern with height
•Constructed long, broad naves
•Romanesque style galleries & clearstory passageways
•Wall remained solid
AP ART HISTORY
Chapter 16 Gothic – Comparative Analysis Assignment
Mrs. Lawson
Due:____________________________
English Gothic c 1150-1550 - Adopted earlier than other regions outside France
General characteristics include:
1.Park-like settings for churches
2.Exterior Features=
•Screen-like facades decorated with multiple tiers of arcading (not related to interior plan)
•Tall steeples over the crossing, small (or nonexistent) towers on facades
•Small portals not deeply recessed into porches
•Low, wide building without flying buttresses
•Extremely long buildings
•Double transepts
•Square east end (rather than round apse)
3.Interiors featured:
•3-part elevations separated into distinct horizontal bands (rather than joined vertical units)
•Preference for linear forms & detailing
•Use of fan & net vaults (decorative rather than structural)
Germany
The architecture of Germany remained conservatively Romanesque well into the 13 th century
-in many churches the only Gothic feature was the rib vault
-heavy masonry walls were used to buttress
-by mid century French Gothic began to make an impact in Germany
German Gothic c. 1230-1600
1.French-style churches – based on High Gothic but•Taller spires & pointed towers
•Not radiating chapels or double ambulatories
2.Hall churches based on French & German Romanesque--the Hallenkirche ==> hall church
-the term applies to buildings with aisles the same height as the nave
-they have no gallery, triforium or clerestory
•Naves & aisles of equal height
•Widely-spaced piers between aisles & nave, emphasizing connection (rather than separation)
•Nave arcade all the way to vaults
•Aisle elevation consisting of two stories of large windows
•No flying buttresses, (aisles braced nave vaults)
•Chancel ending in trefoil shape
•Conservative, simple exteriors (not as important)
AP ART HISTORY
Chapter 16 Gothic – Comparative Analysis Assignment
Mrs. Lawson
Due:____________________________
Architectural Sculpture
-Gothic architecture, sculpture, and stained glass made its first appearance at Saint-Denis
-Suger had sculptors create statues of Old Testament kings, queens, and prophets attached to columns of the jambs of
all three doorways of the west portal => Royal Portal
-a large circular stained glass window punctuates the facade’s upper story / new feature => rose window becomes
standard
-however, little of the west portal survived the French Revolution
Sculpture underwent drastic transformations during the Gothic Period
At the beginning of the era, sculptured figures were flat, stiff & unconvincing
Gradually became more fluid until they gained complete independence from their architectural backgrounds
By 1300 sculpture replaced architecture as the most innovative art form in Northern Europe
By close of the Gothic Period, architectural sculpture was out of style, replaced by free-standing work
Purpose & Subject Matter – primary purpose was religious, produced for churches and for private chapels of the nobility
Subjects from the Bible & other religious literature, emphasized salvation & mystic bliss rather than torment & damnation of
Romanesque Period
1.Architectural sculpture included = standing human figures attached with metal bars to door jambs, trumeaux, & piers of
churches (most popular in France before 1300)
-Relief carving and castings on church facades, choir-screens, pulpits doors, etc.
2.Devotional sculpture included = Madonna & Child images, crucifixes, Pietas (Virgin holding body of dead Christ)
3. Tomb effigies – made for French & English nobility
4. Altarpieces & shrines- popular in Germanic territories
DESIGN
-Increased confidence in ability to create images without imitating the flat, linear patterns of earlier manuscript painting.
-By 1350 painters are trying to imitate the new sculptural images
PROTO-RENAISSANCE (Italy)
-Great stylistic changes occur in Italy (especially painting)
-Began in Tuscany area around Florence
-Term designates:
- time = late 13th & early 14th centuries
- style = depth in representation, classically-inspired, rounded figures
INTERNATIONAL GOTHIC = c. 1330-1420
Art produced for the Papal & Burgundian Courts - Spread to other royal courts in Europe (Burgundian princes patron)
Papal Court first to add Proto-Renaissance naturalism to Gothic
interests
– free from architectural restraints
-Figures rounded, carefully detailed, covered by heavy drapery falling in soft folds
Italian Proto-Renaissance Sculpture-Developed largely independent of Gothic influences from Northern Europe
-Two design trends developed in Central Italy during c. 1250-1350
1. Classicizing style = emphasized elements used in ancient Roman sculpture (classical)
–Figure = facial types, drapery treatments, & hair styles Calm poses & gestures (similar to ancient styles)
-Closely-packed figure groups
-Architectural settings = rounded arches (Roman elements)
2. Gothiczing style = inspired by French Gothic style, but with more violent representations of action & emotion
-Figure = agitate, violent action & emotion (beyond Gothic)
-Non-Classical costumes & draperies
- Architectural settings = pointed arches (Gothic elements)
Purpose – mostly relief carvings used to decorate church pulpits & doors
Subject – primarily episodes from the Bible
Media –
-marble popular for reliefs & free-standing works (plentiful in Italy)
-bronze – cast & gilded
AP ART HISTORY
Chapter 16 Gothic – Comparative Analysis Assignment
Italian International Gothic – style developed only in painting &
Mrs. Lawson
Due:____________________________
sculpture
DESIGN
-Extreme detail shown in figures & faces
-Skillful rendering of textures & use of shadow enhances sculptural qualities
-Heavy draperies, falling in soft folds
-Increased monumentality (scale)
-Figures – could stand alone, not dependent on architectural backgrounds
Purpose – Church decoration
--Private chapels – Philip the Bold, Duke of Burgundy (ruled 1364-1404) founded the Chartreuse de
Champmol (monastery in Dijon, France) – included family chapel & tomb for royal family = employed
artist from throughout Europe to create sculpture for nobility
Subject – stories from Bible
Media / Techniques – carving in limestone, granite & other stone
both relief & free-standing figures
GERMAN GOTHIC SCULPTURE 1200-1500
Sculpture became free of architectural restraints sooner in German territories
DESIGN
1.Free-standing & portable works (devotional images & altarpieces) become important
2.Early 13th century works strongly influenced by the “classical” style of the School of Reims, France
3.14th century works emphasized extreme realism in faces, poses, & drapery (expressions of pain & grief exaggerated)
4.15th century works exhibited the “soft style” (variation on French Late Gothic = sweet faces, S-curve postures, soft drapery
folds
French Gothic Sculpture
Revived sculpture during Romanesque Period => continued to pioneer new concepts & designs until c. 1300 when work shops
of Germany became more innovative
DESIGN
1.Early Gothic Sculpture 1140-1194
-Less agitation than Romanesque figures
-Clarification & simplification of images
-Attempts at creation of real faces (not mask-like)
-Rounded bodies
-Convincing drapery that looked like material
High Gothic Sculpture – 1194-1300
1.Humanized figures with:
-Individualized & expressive faces
-Figures turned to each other (express relationships)
-Realistic costumes
-More graceful poses = “Classical” elements (School of Reims)
-Figures becoming more independent of setting
Late Gothic 1300-1500
1.The “S-curve” – transformed the classical weight-shift pose into mannered elegance by adjusting anatomy to fit
the pattern of the curve
2.Elongated & del8icate faces & bodies
3.Courtly style resembling the precious gold work made for the aristocracy
AP ART HISTORY
Chapter 16 Gothic – Comparative Analysis Assignment
Mrs. Lawson
Due:____________________________
GOTHIC PAINTING
During the Late Middle Ages, the cultural differences between Northern Europe & Italy began to increase
In northern Europe, manuscript illumination continued as the major form of painting
Toward end of the era, panel painting began to displace manuscript illumination
th
The invention of the printing press in the 15 century ended the production of hand-made manuscripts
Design = many changes – Royal Court usually leader
-laymen & clergy produced paintings for universities, cathedrals & royal courts
-Interest in naturalism coexisted with courtly elegance
-Aristocratic forms dominated = delicate, elongated figures & faces – “Sweet” facial expressions & unconvincing poses
–Interest in naturalism restricted to careful observation & representation of plants & animals
Purpose & Subject Matter
-Religious subjects dominated book production for the nobility & merchant classes (& monastic libraries)
-As patronage shifted to the upper classes, secular subjects became popular / Romances & histories were written & illustrated /
Drolleries (playful designs) were added to the margins & depicted scenes for amusement, plants & animals
Media & Techniques
1.Watercolor & ink on parchment, vellum, and after 1380 on paper
2.Tempera on wood used for panel paintings
3.Techniques continued from earlier period
4.Pastel colors (delicate & luminous) replaced darker, opaque colors
5.Gold leaf completed the decoration
LATE GOTHIC PAINTING
•Identified at the end of the 19th century by art Historians
•A homogeneity characterizing European art around the year 1400
•Usually called International Gothic or the International Style
International Gothic = beginnings in Italian Painting
The two most important schools of Italian Gothic painting emerged in Siena & Florence (rivaling city-states)Types:
•Manuscript Illumination
•Painting on wood panels also became popular =>Altarpieces commissioned for main and secondary altars of cathedrals,
churches & private chapels
Context:
Purpose & subject matter – both religious & secular
•Style & themes reflect new source of patronage= from urban society-art proclaimed a patrons status/piety
•Byzantine art & artists (capture of Constantinople by Crusaders 1204)– influencing style & depiction of subject matter
Media & Techniques
1.Opaque & transparent watercolor used for manuscript illumination on vellum, parchment & paper
2.Tempera over gesso-coated wood panels used for altar pieces
3.Fresco used for occasional wall paintings
4.Gold leaf used lavishly on both manuscripts & panel paintings
AP ART HISTORY
Chapter 16 Gothic – Comparative Analysis Assignment
Mrs. Lawson
Due:____________________________
Design
1.Elements from French Gothic painting:
-interest in representations of luxurious living
-increasing interest in secular subject matter
-emphasis on line rather than volume
2.Elements from Sienese (Siena) Proto-Renaissance painting,
introduce by Simone Martini:
-modeled forms with deeper shadows
-expression through posture & gesture
-interest in narrative
-humanizing of forms & subject matter
-real places shown in landscapes
3.Elements of the International Gothic Style:
-magnificent costumes (wealthy patrons)
-intricate detail in costume fabrics & surrounding scenery
-lavish use of gold & bright colors
-curvilinear line in figures & settings
-uptilted background planes; serpentine recession into the background
-modeled forms, particularly faces
-Martini - active 1315-1344 = contributed to the development of the International Style -may have been assistant on Maesta
for Duccio-commissioned for Siena Cathedral (not original frame - punch work & ornamental
detail)
-elegant figures / stylized body /flowing draperies
-figures silhouetted against flat gold background
-painted the psychological impact of the Annunciation on a young “human” Mary (recoiling in fear)
-only essential elements occupy the space
-use of symbolic icons (crown/scepter = triumph/peace /
white lilies/purity) = Byzantine (Roman icons)
-Mary’s face Byzantine
-patrons = wealthy, nobility – preferred International Style
CHANGE IN PATRONS
Bourgeoisie, who were always eager to acquire the prestige of the nobility also showed an appreciation of the qualities which
characterized the art of the ruling classes.
This became increasingly important as the social position of the nobility was undermined by the emergence of other classes of
society.
So even in the most sophisticated German and Tuscan towns around 1400, the work produced in painters' workshops was
definitely aristocratic in its mood.
Change in Iconography• Traditional forms of religious life began to fall
• The Church's system of power & ideology shaken
• Religion found a force on personal & private level
• Changes in the iconography connected with this, the appearance of a new type of picture designed to serve the needs of
private worship, are evidence of the demand, increasingly spreading in ever-growing circles, that religious life should be more
profound and intimate than before
CHANGES IN CONTENT
The most important innovations of content and form in art
1. inspired by faith full of emotion
2. were intended to enable the spectator to become devoutly involved in the scene represented
This purpose could be achieved
1. Through the story of the most human sufferings of Jesus, with the events awakening compassion
2. Also by the Virgin's maternal joy and sorrow
This principle was applied to narrative compositions by singling out and stressing a single moment in the original sequence of
events, and then emphasizing its emotional rather than its historical overtones
Naturalism
The difference of style in depicting the rich and the poor reflects accurately the difference between the two strata of society
The aristocrats appear stylized, shown in stiff formality with strict profiles or rigid frontal poses
The poor trend towards naturalism – with emphasis on the mass of the body indicated more frequent
AP ART HISTORY
Chapter 16 Gothic – Comparative Analysis Assignment
Mrs. Lawson
Due:____________________________
Change in Themes & Subjects:
Blending of ThemesWith new type of painting (the devotional picture destined for private worship) different themes became intertwined Pieta-It is
from the Lament over the Dead Christ and from the Deposition from the Cross that the representation of the Virgin holding
the dead Christ originated
-The scene now often known as the Pietà cannot be traced back to any liturgical text
-Describes subject with great passion and drama
-Thus highly conducive to profound and devout meditation
Nativity
Increasingly frequent in the art around 1400 –artists (& those who commissioned work) drew upon their own imagination and
did not rely solely upon pictorial traditions, definite literary sources or theological concepts
The International Gothic style (preceding the Italian Renaissance) was an important stage in the process of emancipation of the
fine arts
The Nativity was represented increasingly often around 1400 from a novel approach. Once the Virgin appeared to St Bridget (a
14th century mystic) and revealed to her that she had not been lying in bed but kneeling as she gave birth to Jesus, the vision
inspired the pictorial representation of the mother praying above her Child (and superseding the previous depictions of the
bed where childbirth takes place) With this iconographical transformation the scene grew more mystic and more conducive to
profound meditation
PROTO-RENAISSANCE IN ITALY C. 1250-1350
Various Schools (of art) grew up in Florence, Siena, Pisa &
central Italy
Patron = Rich merchants were the main source of funds & support
Purpose =
-Painting used mostly in decoration of churches
-Increasing interest in painting for civic purposes
Subject Matter
Religious – The Bible, The Apocrypha, The Golden Legend, Mirror of Man’s Salvation (Christ’s life with Old
Testament
parallels)
Secular (worldly/non-religious)- political scenes, allegorical reference to Black Death
Media & Techniques
1.Large fresco wall paintings
-Buon fresco (true fresco)-painting directly into wet plaster, color is absorbed & becomes part of the wall
-Fresco secco (dry fresco) – application of pigments to dry plaster – less permanent because bond is weak (necessary to use at
times to add details to buon fresco paintings
2.Tempera panel paintings – large altarpieces done on wood panels
-covered with gesso & scraped smooth
-painted with mixture of pigment & egg yolk called tempera
-embellished with gold leaf – gold backgrounds increasingly replaced by blue sky as painting became more naturalistic
Style = result of Italian artists’ experimentation with elements different from the Byzantine manner that had prevailed
DESIGN –
1. New Elements:
-Direct observation of nature (started in Gothic)
-Modeling with light & shade – new roundness of forms / light source not yet specifically indicated = light seemed to
come from the direction of the viewer
-Conveyances of emotion –convincing gestures & facial expressions
-Attempts to indicate depth – used imperfectly developed linear perspective / overlapping figures
-Simplified composition, reduction of detail
-Emphasis on narrative (not symbolism)
-Representation of actual places & use of landscape to express nature rather than fantasy
-Observation of the underlying structure of the human body
2. Elements carried over from the Byzantine style:
-Plate-like haloes
-Hierarchic scaling (important people made larger)