Art Research Paper 3

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 12^th to 14^th 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 14^th-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 (13^th ed). Boston, MA: Wadsworth.