Presentation by: Alexandra Kulik

Religious Works of the Gothic Period

(12th-15th century)

Originated in Paris

Lasted 400 years

Emerged initially through impressive architectural techniques—(pointed arch, ribbed vault, flying buttress)

Abbot Suger and St. Denis cathedral

Usually described in terms of 4 phases:

Early Gothic, High Gothic, Rayonnant, and Flamboyant.

Devotio Moderna

History of Gothic Art

New institution emerged in the opening years of the 13th century: the University.

Christian Humanism Rapidly increasing population throughout Europe Anselm of Canterbury and Thomas Aquinas redevelop

Aristotle’s theories. Reign of Louis IX Increasing demand for scholarship Materialism into spirituality Production of books The Black Death Mendicants

Life behind the Art (The Late Middle Ages)

The Glorification of St. Thomas Aquinas c. 1340-45

• Geometric golden lines of light

• Aristotle and Plato on each side

• Laymen and clerics, bathed in the rays of learning

“My mouth shall speak truth and wickedness is an abomination to my lips.”

Primary medias for painting:

panel, stained glass, fresco, illuminated manuscripts. Was often typological- illustrating the stories of the new and old

testament side by side. Depictions often included the lives of saints—but the images of

the virgin and the crucifix proliferated more than any other. Interested in describing the appearance of the natural and

spiritual world. Glowing manifestations of Christian doctrine, encouraging

worshippers to follow in the footsteps of saints. “The Heavenly Jerusalem” –glorious jeweled houses of God.

Crystalline appearance, new visions of space, celestial light. Most figures were set within an architectural enclosure.

Characteristics of Gothic Art

4 distinct modes of vision:

The two levels of corporeal vision:

1. Opening one’s eyes to the “figures and colors of visible things.”

2. Outward appearance but also seeing “mystical significance.”

The two levels of spiritual vision:

1. Discovery of truth behind hidden things.

2. Pure seeing of divine reality

Medieval people thought of vision as a supremely active power. Also included extraordinary appearances of dreams, visitations from the dead,

and demonic possession.

Images were far more powerful than they are today. The teachings of Aristotle placed vision at the top of the hierarchy of the senses,

and emphasized that knowledge could only be attained through perception.

Mode of Vision

From the St. Louis Psalter Illumination on parchment B initial begins the first psalm In the top half, King David stares down

upon the bathing Bathsheba. In the lower half,

King David kneels in repentance before God. Enthroned by a fiery mandorla or almond-shaped

halo. Indicates that God is an object of higher vision. Abstract shapes and wavy lines were the

means of distinguishing different levels of reality

within a picture.

Corporeal vs. Spiritual Vision c. 1260

From the Revelations of St. Bridget of Sweden Illumination on parchment Inspired by St. Bridget’s vision of the Eucharist Direct line of sight to God, joining into

one single stream before entering the eyes

(vision) of the seated saint. Images like this allowed ordinary Christians

access to things beyond their own powers

of sight.

Intromission

St. Bridget’s Mystical Vision of God c. 1400

Time had a purpose and plan, organized by God who existed outside of time

Visual forms were often seen in an eschatological framework—past, present, and future were often combined

The future meant the end: The Last JudgmentVisions of God were stimulated most profoundly by his

absencePeople felt a more direct relationship with GodThe fragmentation of Christ’s life (and the Passion)Mystical Visions

New Visions of God, Nature, Time

• Plant life represented new importance given to perception and sensation

• Was not seen as “decorative” or as simple observations, devoid of meaning.

• Nature was not just a thing, but a force.• A mixture of natural and supernatural elements

From a Bible Moralisée c. 1220 God the geometer,

architect of all things. Construction of the cosmos

with His compass. Represents chaotic matter,

from which He shaped the universe.

Unlike earlier medieval scenes of creation, here God has to bend his back in the hard work of world-making.

Wood with traces of paint Virgin Mary cradling the

dead body of Jesus The Lamentation of Christ Women’s spirituality focused

on Christ as the object of his

mother’s gaze Sense of heavy weight,

maternal love, tactile pain

The Pietà (14th Century)

Man of Sorrows c. 1420• Tempera on panel• Petalled roses set in the frame—signs of

blood and death• Made for the purpose of empathy• Eliminates the sense of vision while

engrossed in the sense of touch• Angels hold up Christ with delicate

fingers• Christ is limp like a stuffed-toy and the

instruments of the passion are reduced to the size of playthings.

• Tears were meant to be shed before images such as this (as suggested by the black winged angel with swollen red eyes)

A Dying Man Commends His Soul to God c. 1418

Page from the Rohan Book of Hours

Man outstretched in a burial ground transformed into a symbolic Golgotha.

Devil represented according to medieval convention as a naked babe

Man seized by archangel at the command of God

God bears a sword and orb of dominion