Gothic Art, pp

Transcription

1 Gothic Art, pp Gothic heritage: the perfect church, the aesthetics of structure; verticality of power Structure and light, the Gothic cathedral as the Heavenly Jerusalem Gothic Sculpture Gothic versus Romanesque architecture Cathedral s façade Cathedral s interior Stained-glass windows Flying buttresses Progressive detachment from the building Freestanding sculpture: the Virgin

2 The word Gothic was first used during the Renaissance, as overtly pejorative, It derived from the barbarian Goths who sacked Rome in AD 410 and again in 455 It was opposed to the decorum of Classical architecture

3 Gothic was rehabilitated in the religious revival that followed the French Revolution, as the approved style for new churches; Gothic was, in fact, considered the only style that was purely Christian, without influences from the Classical (pagan) world James Renwick, Saint Patrick's Cathedral, Construction Completed: 1879, New York

4 On the other hand, Gothic was extremely influential for the modernist idea of the beauty of structure John ROEBLING, Brooklyn Bridge, New York City,

5 Finally, the verticality of Gothic architecture inspired early skyscrapers - solution to the demographic density of the modern metropolis - but also as effective symbols of power in the urban context Cass GILBERT, Woolworth Building: view from the air, New York, 1913 William VAN ALEN, Chrysler Building New York, 1930

6 Skyline of Manhattan, USA, 20th century Skyline of San Gimignano, Italy 13th century

7 Exterior: Main characteristics of Gothic facade: -Not 1 but 3 monumental portals, bigger and much more decorated -decoration of Romanesque portals was amplified and developed everywhere (no more the sober simplicity of Romanesque buildings, but triumphal richness) Reims Cathedral, France, ca St-Trophime, Arles, France, ca. 1180

8 - More numerous and larger windows -Arches and passages everywhere: sense of lightness (vision of Heavenly Jerusalem), rather than volume and heaviness (solidity) -Verticality of pointed arches and pinnacles -Proliferation of images everywhere more and more sculptures Reims Cathedral, France, ca St-Trophime, Arles, France, ca. 1180

9 Roman style was the common core of Romanesque arch. In the Mediterranean area (where the Roman heritage was stronger), Romanesque lasted for a longer period The Gothic architectural revolution was born in northern Europe, and in particular in northern France Reims Cathedral, France, ca

10 Context: This corresponded to profound changes in European society during the 13th century The center of both intellectual and religious life shifted from monasteries in the countryside and pilgrimage churches to rapidly expanding cities While Romanesque Church (Church Militant) presented itself as the only solid support and shelter against earthly ubiquitous evil Reims Cathedral, France, ca The great new Gothic cathedrals (Church Triumphant) reaching the sky presented itself as the Heavenly Jerusalem

11 Reims Cathedral, France, ca Interior As in the façade, also in the interior verticality is the main characteristic of Gothic architecture Gothic interiors have a sense of lightness: heavy stone-walls seem to be lace-works Even if in this sense Gothic is the complete opposite of Romanesque Its structure is the direct development of Romanesque structure

12 Interior of Saint- Sernin, Toulou se, France, ca The Gothic rib groin vault is a development of The Romanesque groin vault however

13 Interior of Saint- Sernin, Toulouse, France, ca Here, the groin vaults of the aisles had a structural function: to buttress the nave s barrel vault

14 Dome, Great Mosque, Cordoba, Spain, Gothic rib vault: important not only for the structure but also in the building s beauty (decorative function) Influence of Islamic architecture was probably also influential in the Gothic invention of the pointed arch

15 Reims Cathedral, France, ca The heavy stones of the vaulting, however, press not only downwards but also sideways Strong frames were needed to keep the whole structure in shape

16 Gothic builders introduced flying buttresses that kept in the nave s shape from outside, across the roofs of the aisles As the ribs and pointed arches, the flying buttresses had a structural function but also contribute to the vertical quality, lightness, and elegance of the exterior They corresponded to the new idea of the Church Triumphant as the representation on earth of the Heavenly Jerusalem Several, large windows could be opened Notre-Dame, Paris, France, begun 1163, nave and flying buttresses ca

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18 The Gothic Cathedral: light Abbot Suger described the new church image as The realm of wonderful and uninterrupted light That poured through the most sacred windows He called the colored light lux nova (new light) Chartres Cathedral, north transept, Rose and Lancet, 1220

19 Reims Cathedral, France, ca Despite the vastly increased size of the windows the Gothic church is relatively dark The apparent contradiction can be explained: These windows were not meant to illuminate the interior with bright sunlight But rather to transform natural light into Suger s mystical lux nova

20 Which was filtered through the sacred images and deep colors of Gothic stained glass windows Stained glass shone like rubies and emeralds that corresponded to the description of the Heavenly Jerusalem with its gates of pearl, its priceless jewels, its streets of pure gold and glass (Revelation XXI) Chartres Cathedral, north transept, Rose and Lancet, 1220

21 The Passage to freestanding Sculpture While the Romanesque master of Arles made his figures of saints were fitted into the architectural framework, The master of the northern porch of the Gothic cathedral of Chartres detached his figures from the building They are still extremely rigid: more similar to columns than to human figures Old Testament kings and queen, Chartres Cathedral, Chartres, France, ca

22 A few decades later, St. Theodore is more natural Model? He is depicted as the ideal Christian knight Clothed in the cloak and chainmail armor of the Gothic Crusaders He is young and long-haired, he holds his spear firmly in his right hand, and rests his left hand on his shield Still part of the building, it is however completely detached from any architectural element Saint Theodore, Porch of the Martyrs (left doorway), south transept, Chartres Cathedral, Chartres, France, ca. 1230

23 However, it was inside the cathedral that freestanding statuary was achieved, with the representation of the most venerated of the figures: the Virgin The cult of the Virgin Mary reached a high point in the Gothic age She was the one who compassionately interceded with Christ-Judge for all her faithful Most French cathedrals of this period were dedicated to the Virgin (Notre-Dame), symbol of the Church Triumphant The severity of Romanesque themes stressing the Last Judgment yielded to the gentleness of Gothic art in which Mary is the kindly Queen of Heaven Significantly, as in Greek art, freestanding statuary corresponded to a new focus on humanity, as opposed to the previous obsession with afterlife Virgin and Child (Virgin of Paris), Notre-Dame, Paris, France, Early 14th century, detail

24 Gentle sinuosity of the S shape Focus on the human relationship Praxiteles, Hermes and the infant Dionysos, from the Temple of Hera, Olympia, copy after an original of ca. 340 BC, marble Virgin and Child (Virgin of Paris), Notre-Dame, Paris, France, Early 14th century