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GOTHIC ART GOTHIC (4) CHAPTER 5 THE INTERNATIONAL GOTHIC RENAISSANCE

ART GOTHIC

CHAPTER 5 THE INTERNATIONAL GOTHIC

Jacques rouveyrol

I. ARCHITECTURE

two styles share the second half of the fourteenth and fifteenth centuries

The Perpendicular style (in England). The fan vault.

The flamboyant (in the rest of europe).

Here and there, two styles that we could say "baroque" or "way", so anachronistic since the baroque of the seventeenth and sixteenth of mannerism. Behind these two labels, the idea of decadence. As if the classic Gothic represented a climax, the "purity" of the Gothic.
Given our era, the functionalism of Le Corbusier and his successors, it is certain that the Gothic classic removes all the superfluous to show only the necessary construction, represents a key moment in the architecture itself itself, while the "perpendicular" and "flamboyant" are moments of decoration. However, there is no reason to make judgments of value, since we can conceive not history, in the manner of XIX: (Hegel, Marx) as a progression (with its judgments and flashbacks) to an ideal or some perfection.

Note also that if the sculpture tends to lib2rer the yoke of architecture in which it was made especially for Romanesque, it is nevertheless in harmony with it . Refinement of curves, the preciousness of columns will address the refinement and the preciousness of sculpture and painting of the fourteenth and fifteenth centuries.

II. SCULPTURE, PAINTING THE FORM

1. Refinement and preciousness

objects are small. Transportable. Made of ivory and precious materials (gold, silver, pearl, black horn), carved into the smallest detail and borrowing that grace which will feature, in fact, from the sixteenth century Mannerism. Statuettes, small diptychs and triptychs, etc.. serving the individual devotion.

2. Search for in the refusal depth of realism: the illumination.

Painting is first in the illuminations of manuscripts. It is there that takes the "search", one meets innovation.
The detachment from the architecture that allows the XIIth century prohibited: digging of the wall (disappeared in the Gothic architectre) perspective. Several options are being tested.

a. Atmospheric perspective

An "off" appears through a Thinning of the sky near the horizon line. Certainly there is nothing "realistic". The sun's rays are clearly marked as "rays". The landscape remains a separate remote that it can be instead to blend smoothly into the sky. But there are two plans: one near the other distance.

b. The diaphragm

Other means include the depth of a diaphragm lajout front of the stage. In the example below, two columns and crossbeam frame where the scene takes place. They confront us and creates a sort of backwards. The method of the diaphragm
perfected two other processes which the former is more artificial, the second most symbolic. The first is to "remove" the wall that conceals the stage from inside a building called this approach: internal explicit). The second tile to the floor so that is clear that although the scene appears to be at the outside, it actually takes place inside (we call this approach: internal default).

3. When naturalism appears, in a "Mannerist" non réaliste.Ex. The Limbourg brothers The Tres Riches Heures of the Duc de Berry .

Certainly, we see appear in this calendar the first snowy landscape, the first drop shadows, all of which left indifferent illuminators of previous eras certainly anxious to report laborious human activity (work months), but in a moralistic view (virtues related to work) and religious (the fruits of nature are gifts from God). If Calendar of Limbourg brothers also shows the work in the fields of vines, searching for acorns and wood for heating, it does so against a background of "valuable material" in each table is basically a castle Duke and many of the scenes are scenes of Court, and lay perfectly designed to enhance the nobility mettrre through the richness and especially its elegant ornaments.

3. The altarpiece.

But painting is not limited to illumination. The fifteenth century saw the development of the altarpiece and in the north (Belgium, Netherlands) at the expense of painting and sculpture. One of the most famous is the brothers van Eyck, and is the Cathedral of St. Bavo in Ghent: the Altarpiece of the Mystic Lamb . (Below, closed and open)

II. SCULPTURE, PAINTING THE CONTENT

1. Melancholy

The twelfth century was the age of faith . Belief in a God totally alien and terrifying. The Thirteenth is the age of piety. The belief in one God (severe and Father Judge) but understanding. The fourteenth and fifteenth centuries are centuries of devotion . Belief in a God human, all too human, died for men, a God of themes arising pitié.Plusieurs:

a. Death.

death, always present, becomes a haunting theme. It must be remembered that between 1347 and 1350 is half the European population (25 million people) which is decimated by the plague. In France, it is still rampant between 1353 and 1355. It is a threat to people's minds.

-Death is the subject of many illuminations.

-The " said the three dead and three living " which narrates the meeting of three young people with their own bodies, warning that death is always present, is in everyone's memory.

- The "Dance of Death " appeared

- In funerary art, lying in the transition succeeds. The deceased is no longer represented the stigmata of death. Tombs at two levels appear at the end of the fourteenth century. In the upper part, the spiritual part, immotelle the deceased. In the lower part of his hand injury, fatal.

- or crying (Below the Tomb of Philippe Pot , from the Cistercian Abbey).

b. Crucifixion.

- A Byzantine and Romanesque, it is a triumphant Christ (of death) who is on the cross - A classic in the Gothic period, the Crucifixion has a value dogmatic teaching-Au XIV century, the idea of victory is gone, but the treatment is valuable and Mannerist .- In the fifteenth century, it is a suffering Christ, who is represented overwhelmed.

c. The figures of the suffering Christ.

often confused two figures: that of Mercy Christ and that of the Honne pain. The latter is an invention of the fifteenth century.

- pity Christ died at half-risen from the grave, or not supported by angels, he shows his wounds.

- The Man of Sorrows is alive again. It is the Christ in agony waiting to be crucified.

We are far here from the terrible God of the Apocalypse the tympanum of Moissac. Judge Supreme eardrums Gothic classic. Ecce Homo is the one who has suffered in his humanity all that it was possible to suffer. And died as every man dies. A close God, human, too human.
From age novel in the late fifteenth s one seems to watch the decline of a God, his "de-deification," which led to the end of medieval culture that will continue, however, some way in the North.

CHAPTER 6. RENAISSANCE IN THE NORTH, S XV (OR FLEMISH PRIMITIVES )

I. CODES

symbolism, evident in the medieval representation, lies in the Northern Renaissance. Any requests to be interpreted.

example: a Romanesque window will mean the Old Testament or ancient times or the time before time: the eternity of the Kingdom of God. A Gothic window will nominate the New Testament or the current time. A window is never a window, but a sign . Again, you must read. The difficulty is that this symbolism is hidden.

II. THE WORLD AS ALLEGORY.

The difficulty in a work is whether a particular object or piece of scenery is a symbol intended by the painter or invented by the symbolism commentateur.Dans not completely consistent the first time ( The Master of Flemalle, eg Merode Altarpiece ) the problem arises effet.Il no longer arises then with masters such as Jan (or Hubert) Van Eyck.L interpretation of symbols The Madonna of Chancellor Rolin , for example (below) shows that the portrait of the Chancellor is not that of a donor, as for the first thinking, but the soul of it (death hence) brought into the Virgin in the City of God. Indeed, where is there? The view is sharp from foreground to infinity. It is not that of a human eye. Only God's eyes can capture all of the visible. We're in the City of God, not on earth and the table does not represent the Virgin in Majesty with portrait of the donor as is often the case.
The three arches are three and novels. Three: the trinity. Roman: ancient times, even the time before time, eternity. The Chancellor is dead and received by the Virgin in Paradise. Symbolism hidden in the guise of a scene immediately visible in other ways with Virgin Majecté donor).

The figure of the Virgin in The Virgin in a Church (as of Jan van Eyck, below) is not the Virgin church or a church, but the Church in a shrine which is, itself, the Idea of the Church. That only a symbolic interpretation of the work shows.

The Virgin is indeed too large compared to the building. But all-in-fact in the proportions of classical church in a shrine. The church itself is not a church. The light comes from the north (given regular orientation of this building type). It is another thing. What? Given the disproportion of the Virgin, it is the shrine where the church is represented.

Similarly, it is not the Arnolfini on the eve of their wedding night is just as Van Eyck (Below), but the picture is a marriage certificate issued by the painter. This, only the interpretation of all symbols of the work can establish without doubt.
In the bottom of the mirror does not reflect seulemnt spouses, but (in the place we occupy as spectators of the table) the painter himself and another character: witness the marriage. The signature is not the traditional "Johanes van Eyck fecit" (Jan van Eyck did, this table) but "Johannes van Eyck fled hi c" (Jan van Eyck was here). All other signs and symbols confirms.

III. ARS NOVA

1. The Ars Nova is a new way of painting which emerged in the North in the fifteenth century

2. The color palette expands.

3. It uses oil paint, brighter, a greater color intensity and closer réel.4. It manages to give an illusion of reality to the table. But an illusion that does not disappoint as it presents itself as such and as to decipher.

IV. TOWARDS THE END OF SYMBOLISM

successors Van Eyck (Rogier van der Weyden, Petrus Christus, Dirk Bouts, Hugo van der Goes, Hans Memling, and others) will gradually renounce symbolisme.C is the Middle Ages ending. The world ceases to be the Scriptures of the Creator that the artist had to decipher. He begins to assert its autonomy as an "object" (an ob-ject) that science will have to take and who will need to be represented, new methods, new devices that the Italian Renaissance already, the fourteenth and fifteenth centuries to develop enthusiasm on his side.