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- 1. Sandrine Le BailAP Art History Gothic Art 12th century to 16th France and England
- 2. Gothic • From12th to 16th century • Francigenum Opus • Emerged in France from 1137-1144 • By Abbot Suger • Word invented in the 16th century by Vasari– “monstrous and barbarous” • Spread all around Europe
- 3. New Era… •Opus Modernum • Era of peace and prosperity (merchands organized in guilds) • Era of knowlegde: 1st Universities (importance of Paris as intellectual center) • Era of deep spirituality : the religious life shifted from monasteries to secular cities • Era of extraordinary technological inventions
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- 5. Suger and SaintDenis
- 6. Abbot Suger (1081-1151) • Political and religious advisor of the kings of France • Regent of France when Louis VII in crusade • 1122 - Abbot of Saint Denis Monastery • Church in disrepair
- 7. Suger’s theory •Inspired by Dyonisus (mistaken for S.Denis) • Place of great physical beauty (gold, jewels) • Mathematics Harmony • Mystical effect of light • Light = God • Stain glasses = theology
- 8. Innovation In Architecture Goals: Higher and lighter Based of Romanesque innovations • Rib vault = standard vaulting practice • Bays : repeated vertical elements • Rose window • Pointed arches • Flying buttress • Pinnacles
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- 10. Ribbed vaults: •Reinforce the vault • Distribute the weight more efficiency • Free space for windows • The infilling (web) can be of a lighter material
- 11. Pointed arches were divided to allow higher ceiling in the nave area of the church
- 12. Bays clerestory Triforium Nave arcade
- 13. Bays Piers: Theribs of the vaults formed a serie of lines which continued down to the floor by colonnettes branching off into arches and vaults. Vertical unity
- 14. Flying buttress FlyingButtresses were invented to stabilize the pointed arches
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- 16. Flying buttresses: Masonrystruts that transfer he thrust of the nave vaults across the roofs of the side aisles and ambulatory to a tall pier rising above the church’s exterior wall.
- 19. Pinnacle Sharply pointedornament capping the piers or flying buttresses • Decorative • Stabilize forces in a wind storm
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- 22. Chevet Radiating chapels Ambulatory Choir
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- 24. Stained-Glass Window Translucentcolored glass cut to form a window design. Main colors: Red and Blue
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- 26. In the figures,the lead is arranged to conform to an ouline The background is divided into randon sections. Details added in black enamel Framed by an iron armature Cross Bars
- 27. Stained glass •Depicted biblical and historical stories • Brought colored light to the interior of churches • Created a mystical atmosphere inside the churches
- 28. Characteristics of Gothicarchitecture • Tall and narrow • Religious Symbolism • Competition between cities to have the taller cathedral • In the cities (limited space)
- 29. 4 periods ofFrench Gothic Architecture • Early Gothic • High Gothic • Rayonnant “radiating” • Late / Flamboyant “flaming”
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- 31. -Master builders traveledall around Europe - Hundred of laborers and artisans - Important for the pride of the city - Important for local economy
- 32. Early Gothic 1140-1194 Saint Denis (Notre Dame)
- 33. Saint Denis, 1140-1144,Saint Denis (France) First Gothic building
- 36. Rib vaults supported by pointed arches
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- 41. Light filtered bystained glass
- 43. Sainte Foix vsSaint Denis
- 44. West Façade of Saint Denis
- 45. Early Gothic characteristics • Round columns in the interior • Rib vault starts at the ceiling but travel down only to the top of the column capitals
- 46. The birthplace ofGothic art and architecture was Saint-Denis, where Abbot Suger used rib vaults with pointed arches to rebuild the Carolingian royal church and filled the window of the ambulatory with stained glass. On the west façade, Suger introduced sculpted figures on the portal jambs, a feature that appeared shortly later on the Royal Portal of Chartres Cathedral.
- 47. High Gothic 1194-1300 Chartres Amiens Reims
- 48. Chartres Cathedral, 1134-1510 Cathedral: seat of the bishop
- 49. Importance for localeconomy • Lot of worker • Patrons: clergy, noblemen, royal family, citizens, guilds, pilgrims… • Recognition of the patrons (coat of arms, stained windows…) • Importance of the master builder
- 50. Chartres, Façade -2 towers Tripartite (association with the Trinity: Father, Son and Holy Ghost) - cross between Romanesque and early Gothic Begun 1504 Before 1194
- 51. Chartres, Façade Galleryof niche figures representing the Old Testament Kings Rose window 3 stained-glass lancet windows Portals
- 53. Royal Portal, Chartres,completed in 1150
- 54. Royal Portal, Chartres Archivolts Tympanum Lintel Doorjambs Door
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- 57. Southern Portal Storyof the Virgin
- 58. Northern Portal Ascensionof Christ
- 59. Central Portal Secondcoming of the Christ
- 60. Saint Pierre, Moissac Chartes Cathedral Apostles
- 61. Saint Pierre, Moissac Chartes Cathedral - Easier to read the Tympanum - More clarity - Deeper Relief - Minimal floral designs
- 62. Doorjambs Statues -Slim - Vertical -Stylized - Frontal -Rigidity - Feet in diagonal
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- 65. South Façade, 13thcentury
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- 67. South portal: centraltympanum Second coming of Christ
- 68. More peaceful Lessfearful More volume
- 70. West Portal SouthPortal
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- 72. Each vault spansone bay Rib vaults from the ceiling down to the floor
- 73. 176 stained glass// 22.000 square feet 2.500 m2
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- 76. Our Lady ofthe beautiful Window (12-13th century)
- 77. North Rose Window and lancets Given by King Louis VIII in honor of Queen Blanche de Castille. Connection between the HolyFamily and the royal family
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- 80. Amiens Cathedral, France (1241-1290) Tallest Gothic French Church
- 81. Early vs HighGothic Notre Dame, Paris Amiens Cathedral
- 83. Very high vaults (148 feet/113 m) Larger windows Narrow nave – Enhances verticality
- 84. Le Beau Dieu,1225-1230 Vierge Dorée, 1250
- 85. Reims Cathedral, begun1211 through late 13th century
- 86. Annunciation and visitation,doorjam statues, Reims Cathedral, c.1225- 12455 Gothic S- curve
- 89. Evolution of Gothic Sculpture
- 90. Virgin of Paris, early 14th century Notre Dame de Paris Balance between greater naturalism and propriety. S- Curve
- 91. Evolution of GothicSculpture • More realistic • More movement • More freedom • More inspired from classical models • New realism • Gothic S-curve
- 92. Characteristics of HighGothic • Articulated columns in the interior: rib vaults from the ceiling down to the floor • Larger window space • Larger choirs and chevets • More sculpture on the façade
- 93. High Gothic Aftera fire in 1194, Chartres cathedral was rebuilt with flying buttresses, four-part nave vaults, and a three-story elevation of nave : arcade, triforium and clerestory. These features set the pattern for High Gothic (1194-1300) cathedrals. French architects sought to construct naves of soaring heights. The vault of Amiens cathedral are 144m high.
- 94. High Gothic Flyingbuttresses made possible huge stained-glass windows. High gothic windows employed delicate stained windows. The colored stained converted natural sunlight into divine light, dramatically transforming the character of church interior.
- 95. High Gothic TheHigh Gothic jamb statue broke up of the architectural straightjacket of their early gothic predecessors. At Chartres, Reims, and elsewhere, the sculpted figures move freely and sometimes converse with their neighbors.
- 96. Rayonnant (Radiant) SainteChapelle
- 97. Sainte Chapelle, Paris,1243-1248 Commissioned by Louis IX Rayonnant Style Chapel of the royal palace Designed by Thomas de Cormont Built for the crucifixion relics= Giant reliquary
- 100. Dissolution of wallspace: ¾ of the wall space is windows
- 102. Characteristics of Rayonnant • Dissolution of the wall space • Great sheet of stained glass
- 103. Flamboyant (Flaming) LateGothic 1350-15th century
- 104. Difficults times •1337-1453 – Hundred Years’ War between France and England • 1248 – The Black Death / The Plague A quarter to a third of the world perished.
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- 106. Saint Maclou, Rouen,France, 1500- 1514
- 109. Characteristics of Flamboyant • Same structure than previous style • Highly decorative • Mass of pinnacles and tracery • Ogee arches are used
- 110. Gothic in Europe French masons who worked in the Gothic style traveled around Europe looking for work. This helped disseminate the French Gothic Style.
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- 114. Choir of thecathedral of Canterbury, 1174 French Architect: William of Sens Stones imported from Caen (France)
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- 117. • Close = precinct of lawns and trees
- 118. Salisbury Cathedral -Double Transept - Square Apse - More elongated than French churches
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- 120. Less Windows Massivewalls
- 121. Chapter House, Salisbury Cathedral, 1263-1284
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- 123. Characteristics of thePerpendicular Gothic • Enormous window spaces • Elaborate decorative vertical patterns of stone tracery • Clusters of vertical shafts rise dramatically • Fan Vault
- 124. King’s College Chapel,Cambridge
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- 130. Holy Roman Empire German architects eagerly embraced the French gothic architectural style at Cologne cathedral and elsewhere. German originality manifested itself most clearly in the Gothic period in sculpture.
- 131. Siena Cathedral, Tuscany,Italy 1284- 1299
- 132. Milan Cathedral, Milan,Italy, begun 1386
- 133. Romanesque • Dark • Fear-inspiring decoration • Barrel Vaults • Thick walls Gothic • Lot of light • Heavenly decoration • Ribbed vaults • Flying Buttresses
Editor's Notes
- #3 Gothic is rude As the Goths destroyed the classical art
- #7 Importance of the cathedral (burial ground of kings) Symbol of French Monarchy Aimed to increase the prestige of the church and the king
- #8 He wrote 3 treatises about his activities Great beauty contrasts with the last judgement
- #10 The weigh of the ribbed vult is concentrated only at the corners of the bay. Structures can be buttressed at intervals freeing up more spaces for windows
- #12 The pointed arches can be raised to any height regardless of the distance between the support – more flexible
- #15 In romanesque – thick walls Support the roof Weight bypass the walls and travel down to piers outside Stabilize the building
- #16 In romanesque – thick walls Support the roof Weight bypass the walls and travel down to piers outside Stabilize the building
- #18 Notre Dame
- #22 Ambulatory – more pilgrims to visit the church without disturbing the priests
- #23 Need more space between the choir and the
- #26 Cut the piece Fitted into a model Strips of lead
- #27 Énamel – email From saint chapelle Illustration of sophisticated theological program
- #31 Stones exactly carved on the carry Cranes and scaffolding
- #34 Nave / Later Legendary burial ground of Saint Denis !st use of stained glass
- #35 Moves away from the demarcation of spaces in the Romanesque period: Radiating chapels open up and one continuous space is created Spaces between the chapels flow from one to the other
- #36 Rib vaults start at the ceiling and go down as far as the capitals on the columns Columns are round ans unarticulated No big piers but slender columns
- #37 Pointed arches
- #39 Sense of unity
- #42 Suger wanted light filtered by stained glass to saturate the inside of the building Pointed arches Seens very light
- #45 From Suger But decoration lost
- #49 Cathedral – seat of the bishop (cathedra) Importance of the cult of Virgin Mary (legend of the statue of Mary found in Pagan time) veil of mary Fire in 1194 Importance of local economy Construction lasted from 1134 to 1510
- #51 Importance of verticality Evolution of style : 2 towers Verticality and heights Not formally symmetric
- #52 Rose _ symbole of Christ and universality
- #53 Many tripartite elements Chapls and flying buttresses 5 lancet windows
- #54 Royal portal because depict kings and queen from the old testament
- #56 Entering a church = centering the paradise
- #57 Didactic function – tell a story
- #58 Story of the virgin Christ nativity, Enthroned Virgin 7 liberal Arts (Grammar/ Rhetoric/ Dialectic/ Arithmetic/Geometry/Astronomy / Music) Importance of learning
- #60 Second coming of Christ (Book of revelation) Seated Christ with mandorla !2 apostles 24 elders
- #63 In front of the columns/ not columns Earliest example of Early Gothic sculpture // Byzantine art Projected forwards the columns Concentric composition of the rove King and queen are the precursors of Jesus Christ
- #64 More human Lines less sharp Earliest example of Early Gothic sculpture // Byzantine art Projected forwards the columns King and queen are the precursors of Jesus Christ
- #65 Iconography Portals on the side : life of Christ Central _ secondcoming of Christ The New testament is supported by the Old Testament
- #67 More sense of depth
- #71 Not stucked on the colonnes More natural Less elongated Less frontal More variety of poses, gestures and costume More sense of depth Folds more deeply carved
- #73 Earlier example of High Gothic Vault : 120 feet / 37.58 m.) Heigh possible thanks to buttressing system
- #77 In 1906, the glazier Gaudin restored Mary's head. While before Mary's gaze was fixed straight ahead, her head is now inclined very slightly towards the viewer's left.
- #78 IMPORTANT FOR PATRONAGE Center Mary and 12 elements (12 apostles) Painting in light 1st serie : doves and angels 2nd serie: Old testament king (square) 12 qutrefoils – symbol of the king of France Outer semicircles : 12 apostles
- #79 With the name of the master builder
- #81 High Gothic style Tallest of the Gothic French churches Head of Satin John deposited by crusaders
- #82 More extravagant use of sculpture Concentration of light and dark Arcgitectural projection
- #83 Unified plan – built from scratch after fire
- #85 Evolution More realistic More movement Beau Dieu : Almost 3 dimentional // Teacher blessing to those who enter through the doorway Kind teacher and not a fearful judge Triumph over evil 3 angels // Dead of Christ More and more independent from the doorjam
- #86 Vertical façade Liberal use of glass Extra long nave and very high roof
- #87 More realistic and naturalistic Convesarion / interaction Contrapposto 1st example in monumental Christian Art of an interested in the relationship between drapery and the human form // Classical statuary Almost 3 dimensional In conversation Gothic S-curve
- #91 The folds are complex but don’t reveal her body. // Praxiteles
- #98 Fragment of the True Cross, Crown of thorns, lance, sponge and nail
- #99 The walls disapeared Pure light
- #107 5 portals Skeletal glabes over portals Complexity of design
- #116 Mpre complex patterns
- #125 No fòying butresses Extranal buttresses
- #131 Emotion