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Gothic art - 2º ESO - IES DIEGO TORRENTE - BIL INGLÉS

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GOTHIC ART - ARTE GÓTICO (BILINGUAL IN ENGLISH/SPANISH)
IES DIEGO TORRENTE PÉREZ- SECCIÓN EUROPEA EN INGLÉS.
SAN CLEMENTE (CUENCA)
2º ESO - CIENCIAS SOCIALES

Published in: Education, Spiritual
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Gothic art - 2º ESO - IES DIEGO TORRENTE - BIL INGLÉS

  1. 1. Gothic style began in the middle of 12th century in France, and then spread all over Europe. El estilo Gótico comenzó a mediados del siglo XII en Francia. Desde allí se extendió por toda Europa Catedral de Beauvais
  2. 2. GOTHIC EXPANSION
  3. 3. Romanesque style did not disappear suddenly. Both styles co-existed for a few years, but Gothic substituted Romanesque little by little. El estilo Románico no desapareció repentinamente. Ambos estilos coexistieron varios años, hasta que finalmente el ´Gótico sustituyó al Románico.
  4. 4. CONTEXTO HISTÓRICO (s. XIIXV)
  5. 5. Gothic was a urban art. Every city wanted to have its own cathedral, the most characteristic symbol of Gothic art. Cathedrals were symbols of prestige for cities. Gothic is an urban art. Cada ciudad quería tener su propia catedral, el símbolo más característico del arte Gótico. Las catedrales eran los símbolos de prestigio para las ciudades.
  6. 6.  Not only religious buildings were built, but also markets (lonjas), palaces, town halls…  No sólo se construyeron edificios religiosos, sino también lonjas, palacios, ayuntamientos.
  7. 7. Castillo Castillo Palacio Palacio Lonja Lonja Catedral Catedral
  8. 8. h
  9. 9.  Gothic temples were higher than Romanesque temples.  Los templos góticos eran más altos que los Románicos. Catedral de Beauvais
  10. 10.  The use of pointed (or ogival) arches  La utilización de arcos apuntados (u ojivales)
  11. 11. The use of ribbed vaults La utilización de bóvedas de crucería Bóvedas de Crucería Ribbed vaults
  12. 12. Fan Vault Sexpartite Vault
  13. 13.  Walls were not so massive or huge as they were during the Romanesque period.  Gothic buildings have many more windows, and thus they are brighter inside.  Los muros no eran tan anchos como en los edificios románicos.  Los edificios góticos tienen muchas más ventanas, y así los interiores tienen mucha más luz.
  14. 14. CATEDRAL DE LEÓN
  15. 15.  Stained glasses were inserted in the windows.  En las ventanas se introducían vidrieras.
  16. 16. ROSETÓN / ROSE CATEDRAL DE METZ (Francia). Rosetón
  17. 17. White light coming from the sun trespassed the stained glass thus creating an intense atmosphere inside the temple. La luz blanca del Sol que entraba a través de las vidrieras creaba una atmósfera espiritual intensa
  18. 18. Inside the cathedral, pillars are used; outside, buttresses and flying buttresses are used, supporting the weights of the vault. En el interior emplea pilares, mientras que en el exterior usa arbotantes que trasladan los empujes de la bóveda a los contrafuertes.
  19. 19.  At the top of the counterforts, pinnacles were erected as decoration.  En la parte de arriba de los contrafuertes, se erigían pináculos como decoración.
  20. 20.  Latin Cross plans are used and poligonal chevets (apses).  Se sigue usando la planta de cruz latina y la cabecera poligonal.
  21. 21. CROSS LATIN PLANS WITH 3 OR 5 NAVES, APSE AND AMBULATORY WITH CHAPELS.
  22. 22. Doble girola B C C B 3o5 naves 3 fachadas (A,B,C) Torres A Plano de la Catedral de Chartres A Plano de la Catedral de Notre Dame de París
  23. 23. Gothic cathedral section
  24. 24. Apses were enlarged. Los ábsides se agrandan
  25. 25. There were usually 3 or 4 storeys inside Había normalmente 3 o 4 pisos de altura en el interior
  26. 26.  A rose window covered with stained glass was situated on the facade  Un rosetón (vidriera circular) se situaba en la fachada.
  27. 27.  Gargoyles were used for getting rid of rainwater, and for decoration  Las gárgolas se utilizaban para desaguar y para decoración
  28. 28. Gothic Architecture
  29. 29. PINÁCULO ARCO OJIVAL BÓVEDA DE CRUCERÍA ARCO ARBOTANTE CONTRAFUERTE NAVE LATERAL NAVE CENTRAL
  30. 30. Catedral de León Gablete Gablete Arbotantes Arbotantes Portada Portada Rosetón Rosetón ojival ojival
  31. 31. ESCULTURA EN ARQUIVOLTAS, TÍMPANO, JAMBAS Y PARTELUZ
  32. 32. Gablet Archivolts Tympanum Pinnacle Lintel Jambs Trumeau Jambs
  33. 33. Gablete
  34. 34. Rosetón Rosetón Gablete Gablete
  35. 35. Chapiteles y agujas Gablete Catedral de Barcelona
  36. 36. Notre Dame de Paris.
  37. 37. The western facade of Reims Cathedral, France.
  38. 38. Catedral de Amiens
  39. 39. Catedral de Chartres
  40. 40. Sainte-Chapelle - Interior.
  41. 41. Milan Cathedral (Duomo) The biggest and greatest late gothic architecture in Italy. 1386-1577, west front 1616-1813
  42. 42. Leuven, Belgium Town Hall 15th Century
  43. 43. Early Gothic 12th century High Gothic 13th century Mudéjar Gothic 13th-15th century Levantino Gothic 14th century Late Gothic 15th century Isabelline Gothic 15th century
  44. 44. Catedral de Palma de Mallorca
  45. 45. CATEDRAL DE LEÓN VISTA GENERAL PLANTA DE CRUZ LATINA CON CABECERA MUY DESARROLLADA Y DOBLE GIROLA ARBOTANTES CLAUSTRO ABSIDIOLOS
  46. 46. Romanesque apse with mudéjar and gothic additions La Seo Cathedral at night
  47. 47. h
  48. 48. h
  49. 49. h
  50. 50. Lonja y Consulado del Mar. Valencia
  51. 51. Lonja de Valencia. Interior
  52. 52. LONJA DE PALMA DE MALLORCA. Interior. Bóvedas estrelladas.
  53. 53. Claustro del Hospital de San Juan de los Reyes
  54. 54. Ayuntamiento de Bruselas
  55. 55. Palazzo del Comune. Siena
  56. 56. Palacio del Dux de Venecia
  57. 57. UNIVERSIDAD DE CAMBRIDGE
  58. 58. Figures were becoming independent from architecture. Figures were more realistic and natural than during the Romanesque style. Las obras se fueron liberando de la adaptación a la arquitectura. Las figuras se representaron de forma más realista y natural.
  59. 59. Most of sculptures were religious but they began to appear the first sculptures of nobles or burghers. Figures are getting movement, curves lines get successful. There was an interest to express feelings: happiness, sadness, hurt, etc. Aparecieron los primeros retratos de nobles y burgueses. Las figuras movimiento. empiezan a adquirir Existió un interés por expresar sentimientos de alegría, tristeza,
  60. 60.  Clothes and gestures were more detailled. Tomb of Philippe Le Pot.
  61. 61. Both reliefs and free-standing sculptures were made. Se hicieron tanto relieves como figuras exentas.
  62. 62. Sepulchres  It is one of the new locations for sculpture.  The characteristics are:  Death person depicted on the bed, laying or praying  Symbolic animal images  They were commanded by nobility or bourgeoisie  They appear in the chapels.
  63. 63. Other locations  Other places for sculptures are:  Choir chairs  Pulpits  Altar pieces
  64. 64. Facades or portals were decorated with reliefs Las portadas eran decoradas con relieves.
  65. 65. Capitals...
  66. 66. Tympana (tympanum is singular)
  67. 67. Columns on the facades...
  68. 68. And archivolts
  69. 69. Saints and sinners were represented
  70. 70. Gothic sculptures are more natural and full of expression than Romanesque
  71. 71.  Naturalism affected the two main images depicted:  The Virgin is not any longer a throne for her son but a mother who plays with him  Christ is a human person who suffers in the cross or who is death.
  72. 72. In Spain there were two important sculptors: Gil de Siloé and Pere Joan Gil de Siloé
  73. 73. Pere Joan
  74. 74. Wooden retables were placed behind the altars. This one is in a convent in Burgos (Cartuja de Miraflores)
  75. 75. Tombs could be very beautiful, too
  76. 76. Virgen Blanca de León y de
  77. 77. Spain  In some cases the person appears in a normal attitude, as is they were alive. El doncel de Sigüenza
  78. 78. Painting on walls losses its importance, as walls were changed by wide windows and there were no place to paint. La pintura mural perdió la importancia, Los muros fueron sustituidos por amplios ventanales y no hubo lugar donde realizar las pinturas.
  79. 79. They used to paint on wood, so altarpieces made with wood appeared. Adquirió importancia la pintura sobre madera, dando lugar a la aparición de los retablos pictóricos
  80. 80. The more painted subjects were religious, but also portraits. Usually nobles or burghers who paid the painting appeared as donants. Los temas más representados siguieron siendo los religiosos y también los retratos. Muchas veces los nobles y burgueses que pagaban la pintura aparecían como donantes.
  81. 81. Other important features were: • Richful colours. • Use of golden colours. • Landscapes in the background. • Realism. • Movement. Otras características importantes fueron: •Riqueza de colores, •El uso •del dorado, •La introducción de paisajes de fondo, •La búsqueda del realismo y •El movimiento de las figuras.
  82. 82. Gothic Painting  Altarpieces and Icons were common religious paintings. Last Judgement, Roger Van der Weyden. Icon: Virgin with child
  83. 83. Gothic Painting  Portraits also became important.
  84. 84. Gothic Painting  They continue illustrating religious books.  Miniatures were the most important type.
  85. 85. Roger van Weyden. El descendimiento
  86. 86.  In Spain , Luis Dalmau and Jaume Huguet were the most famous painters.  En España, Luis Dalmau y Jaume Huguet fueron los pintores más importantes. Jaume Huguet. San Abdón y San Senén
  87. 87. Luis Dalmau La Virgen de los Consejeros
  88. 88. Bartolomé Bermejo Santo Domingo de Silos

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