Religious works of the Gothic Period
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Transcript of Religious works of the Gothic Period
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