Research Question 1: Contrast
the differences between Early Gothic and High Gothic architecture in France
using specific examples to illustrate your discussion.
The term Gothic was first used in 1550 by Giorgio
Vasari, because he wanted to ridicule the medieval art and architecture. But,
to others the Gothic style was considered “modern work.” Although the term
Gothic started out as a “derogatory” term it is “used to describe the history,
culture, and art of Western Europe in the 12th to 14th
centuries” (Kleiner, p. 461, 523). Early Gothic architecture started in 1140
with the design and implementation, building, of the abbey church, Saint-Denis,
France (Figure 18-2, p.462). The building contained Gothic Rib Vaults with
pointed arches (Figure 18-4, p.464). The pointed arches allowed the vaults to
appear taller, thus setting them apart from other pointed arches like the ‘Sasanian
vaults (Figure 2-27)’ and the ‘French Romanesque vaults (Figure 17-1 and 17-14)’
(Kleiner, p. 464).
The
rib vaults can also be seen in the Laon Cathedral (Figure 18-8, p. 467);
however, in this building the architect used a new feature called triforium. The
Early Gothic period ended in 1194; which is when the High Gothic architecture started.
The triforium in the Laon Cathedral continued to evolve in the High Gothic
architecture. The buildings elevation increased. The vaults increased from ‘80
to 144 feet,’ as can be seen in the Chartres Cathedral(Figure 18-10c, p. 468)
and the Amiens Cathedral (Figure 18-10d, p. 468). The Amiens Cathedral is more
elegant then the Chartres Cathedral, because the architect increased the detail
and design of the cathedral. This pushed the High Gothic style up a notch. The Amiens
Cathedral architect also used “the concept of a self-sustaining skeletal
architecture” as seen in figure 18-20 (Kleiner, p.474). The High Gothic period
ended in 1300.
Research Question 2: Explain
the role of light in Gothic architecture both from the symbolic and structural
point of view. Use examples to support your essay.
The abbey church, Saint-Denis was repaired by
Abbot Suger, a monk. The plan allowed the walls to be removed from the
‘radiating chapels.’ The walls were replaced with windows, so that the building
remained structurally sound. The stained-glass windows were designed and
manufactured to ‘transmit’ light, so that it came into the building. In the
past, the stained-glass windows ‘reflected’ light. Stained-glass windows were “costly
and labor intensive” (Kleiner, p.472). The details of stained-glass windows can
be seen in the Chartres Cathedral (Figure 18-1).
The stained-glass windows went between the
radiating chapels, and it allowed more light to come in. Abbot Suger believed
his church allowed him to be “transported from this inferior to that higher world”
(Kleiner, p. 462-3), because the stained-glass windows transmitted the light
into different colors throughout the building “enlightening the inside.” The stained glass windows used in the
Saint-Denis set the stage for other Gothic cathedrals. Stained glass was
originally used to conceal walls, but this new technique allowed the stained
glass windows to replace the walls. The “stained-glass windows are the Holy
Scriptures… and since their brilliance lets the splendor of the True Light pass
into the church, they enlighten those inside” explaining the lights symbolic
meaning (p. 472).
Research Question 3: Describe
the stylistic elements introduced by Giotto. Why was his work so important for
the development of Renaissance painting? Use examples to support your essay.
Giotto Di Bondone is regarded as the “first
Renaissance painter, a pioneer in pursuing a naturalistic approach to
representation based on observation” (Kleiner, p. 503). Giotto’s paintings
portrayed nature and people in a natural form. He observed the environment
around him and used the information in his painting style. His
three-dimensional perspective is clearly seen in his work; Figure 19-1, The
Arena Chapel is a reflection of Giotto’s painting style (p.496).
Giotto used borders for the Lamentation, Figure 19-9, in the Arena Chapel (p.504-505). The
Fresco painting draws the viewer’s eyes to the lower left corner by the
direction of the landscape and faces. The people are looking at the dead Christ and the rock slopes toward
him; therefore, it catches the viewer’s attention and draws them to look at the
dead Christ (p.504).
Research Question 4: Contrast
the rivalry between Siena and Florence. How did the political climate affect
the visual arts of both cities? Use examples to support your essay.
Siena and Florence were both powerful Italian
city-states in the 14th-century. These city-states were the center
of international trade and wealth (Kleiner, p. 505). The Patrons in these city-states would employ artists to do the work
for them. Patrons were normally people of power and wealth or an institution
(churches, confraternities, hospitals) (p.506). For example, the Maesta altarpiece, from the Siena
Cathedral (figure 19-10, p. 507) was created for the bishop of Siena. The Maesta lives up to being majesty,
because it measures 25 x 31 feet.
Siena and Florence compete with each in arts and architecture,
because they both want merchants to come to their city-states to dominate the
artistic markets. An example of Siena’s work is the Campo with the Palazzo
Pubblico (Figure 19-15, p. 511). An example of Florence work is the Florence
Cathedral (Figure 19-18, p. 513).
References
Kleiner,
Fred. (2011). Art through the ages: a
global history (13th ed). Boston, MA: Wadsworth.