歌特式艺术及代表性画家 Gothic Art and famous painters

1、1,1855 Frederic Leighton - Cimabue-s celebrated Madonna,手動翻頁 Hand Play,2,哥德式藝術，又譯作哥特式藝術，為一種源自歐洲法國的藝術風格，該風格始於12世紀的法國，盛行於13世紀， 至14世紀末期，其風格逐漸大眾化和自然化， 成為國際哥德風格，直至15世紀，因為歐洲文藝復興時代來臨而迅速沒落。不過，在北歐地區，這種風格仍延續一段相當長時間。該風格在18世紀重新被肯定，哥德式復興（Gothic Revival）運動推崇中世紀的陰暗情調。在19世紀之後仍偶而被應用。 哥德建築 哥德式建築的基本構件是尖拱ogival or poin

2、ted arch，或稱尖拱券、尖券和肋架拱頂ribbed vault。哥德式建築的魅力來自於比例、光與色彩的美學體驗，即通過對光的形而上的沉思，通過對數與色的象徵性理解，使靈魂擺脫俗世物質的羈絆，迎著神恩之光向著天國飛升。該種建築雖曾於歐洲全境流行，不過在歐洲文藝復興時期，一度頗為被藐視。 11371144年，聖鄧尼斯修道院院長絮熱Suger，10811151主持了聖鄧尼斯修道院教堂Abbey Church of St. Denis的重建。聖鄧尼斯修道院教堂始建於8世紀晚期，以早期基督教時期的一位聖徒聖鄧尼斯St. Denis，約258年卒命名。絮熱立志要把這座在法國人心目中具有紀念碑性質的教

3、堂建成全法蘭西的精神中心，激發法國人的愛國主義情感。由絮熱主持重建起來的這座聖鄧尼斯教堂被公認為第一所哥德式教堂。,3,哥德式建築是以法國為中心發展起來的。12世紀是法國哥德式的發生與發展的階段。13世紀，法國哥德式發展至純熟境地，夏特爾大教堂Chartres Cathedral展示了早期哥德式向盛期哥德式發展的不同風格階段。夏特爾大教堂之後，法國興起大教堂建設高潮，哥德式盛期到來。蘭斯大教堂Reims Cathedral、亞眠大教堂Amiens Cathedral和博韋大教堂Beauvais Cathedral等都是盛期哥德式的偉大作品。13世紀中葉以後，哥德式建築愈發向輕盈和繁飾發展。先後

4、出現了輻射式Rayonnant、火焰式Flamboyant等晚期哥德式建築。法國哥德式也播及歐洲各地，並在各地形成不同的風格特徵。在英國有盛飾式Decorated style、垂直式Perpendicular。典型的德國哥德式則綜合了法國盛期哥德式和英國垂直式，以密集小尖塔令人目瞪口呆。義大利的哥德式則更多保留有古典和拜占庭的傳統。 風格特徵：充斥著神秘、陰森、恐怖的氣氛。 代表作家與作品：華爾普（Walpole）奧藍托城堡（The Castle of Otranto） （英）安萊德克利夫（Ann Radcliff）的奧多芙的神秘（The Mysteries of Udolpho）（1794年

5、），確立了哥德式小說的標準樣式。（英）M.G.路易斯（Matthew Gregory Lewis）的僧侶（The Monk）1796年。瑪麗雪萊（Mary Shelley）的科學怪人。 愛倫坡厄舍府的倒塌、黑貓。 哥德繪畫：在哥德式建築和哥德式雕塑出現大約50年後，哥德式繪畫風格在13世紀的時候開始展露， 從羅馬式風格至哥德式風格的過渡並沒有明顯的界限，但是我們可以發現這一時期的繪畫風格較之於前更加沉悶，黑暗和情緒化。這種轉變在1200年左右始於英國和法國，1220年左右發展至德國，1300年至義大利。哥德繪畫主要以4種形式出現：壁畫，板畫，插圖和花窗玻璃畫。 作為早期基督和羅馬傳統的延續，在

6、南歐壁畫一直被教堂作為主要的圖像表述方式。,The Western (Royal) Portal at Chartres Cathedral (ca. 1145). These architectural statues are the earliest Gothic sculptures and were a revolution in style and the model for a generation of sculptors.,4,Gothic art was a style of Medieval art that developed in France out of Roman

7、esque art in the mid-12th century, led by the concurrent development of Gothic architecture. It spread to all of Western Europe, but took over art more completely north of the Alps, never quite effacing more classical styles in Italy. In the late 14th century, the sophisticated court style of Intern

8、ational Gothic developed, which continued to evolve until the late 15th century. In many areas, especially Germany, Late Gothic art continued well into the 16th century, before being subsumed into Renaissance art. Primary media in the Gothic period included sculpture, panel painting, stained glass,

9、fresco and illuminated manuscripts. The easily recognisable shifts in architecture from Romanesque to Gothic, and Gothic to Renaissance styles, are typically used to define the periods in art in all media, although in many ways figurative art developed at a different pace. The earliest Gothic art wa

10、s monumental sculpture, on the walls of Cathedrals and abbeys. Christian art was often typological in nature (see Medieval allegory), showing the stories of the New Testament and the Old Testament side by side. Saints lives were often depicted. Images of the Virgin Mary changed from the Byzantine ic

11、onic form to a more human and affectionate mother, cuddling her infant, swaying from her hip, and showing the refined manners of a well-born aristocratic courtly lady. Secular art came in to its own during this period with the rise of cities, foundation of universities, increase in trade, the establ

12、ishment of a money-based economy and the creation of a bourgeois class who could afford to patronize the arts and commission works resulting in a proliferation of paintings and illuminated manuscripts. Increased literacy and a growing body of secular vernacular literature encouraged the representati

13、on of secular themes in art. With the growth of cities, trade guilds were formed and artists were often required to be members of a painters guildas a result, because of better record keeping, more artists are known to us by name in this period than any previous; some artists were even so bold as to

14、 sign their names.,Later Gothic depiction of the Adoration of the Magi from Strasbourg Cathedra,5,6,Origins Gothic art emerged in le-de-France, France, in the early 12th century at the Abbey Church of St Denis built by Abbot Suger. The style rapidly spread beyond its origins in architecture to sculp

15、ture, both monumental and personal in size, textile art, and painting, which took a variety of forms, including fresco, stained glass, the illuminated manuscript, and panel painting. Monastic orders, especially the Cistercians and the Carthusians, were important builders who disseminated the style a

16、nd developed distinctive variants of it across Europe. Regional variations of architecture remained important, even when, by the late 14th century, a coherent universal style known as International Gothic had evolved, which continued until the late 15th century, and beyond in many areas. Although th

17、ere was far more secular Gothic art than is often thought today, as generally the survival rate of religious art has been better than for secular equivalents, a large proportion of the art produced in the period was religious, whether commissioned by the church or by the laity. Gothic art was often

18、typological in nature, reflecting a belief that the events of the Old Testament pre-figured those of the New, and that this was indeed their main significance. Old and New Testament scenes were shown side by side in works like the Speculum Humanae Salvationis, and the decoration of churches. The Got

19、hic period coincided with a great resurgence in Marian devotion, in which the visual arts played a major part. Images of the Virgin Mary developed from the Byzantine hieratic types, through the Coronation of the Virgin, to more human and initimate types, and cycles of the Life of the Virgin were ver

20、y popular. Artists like Giotto, Fra Angelico and Pietro Lorenzetti in Italy, and Early Netherlandish painting, brought realism and a more natural humanity to art. Western artists, and their patrons, became much more confident in innovative iconography, and much more originality is seen, although cop

21、ied formulae were still used by most artists.,International Gothic Mary Magdalene in St. John Cathedral in Toru,7,Iconography was affected by changes in theology, with depictions of the Assumption of Mary gaining ground on the older Death of the Virgin, and in devotional practices such as the Devoti

22、o Moderna, which produced new treatments of Christ in subjects such as the Man of Sorrows, Pensive Christ and Piet, which emphasized his human suffering and vulnerability, in a parallel movement to that in depictions of the Virgin. Even in Last Judgements Christ was now usually shown exposing his ch

23、est to show the wounds of his Passion. Saints were shown more frequently, and altarpieces showed saints relevant to the particular church or donor in attendance on a Crucifixion or enthroned Virgin and Child, or occupying the central space themselves (this usually for works designed for side-chapels

24、). Over the period many ancient iconographical features that originated in New Testament apocrypha were gradually eliminated under clerical pressure, like the midwives at the Nativity, though others were too well-established, and considered harmless. Etymology The word Gothic for art was initially u

25、sed as a synonym for Barbaric, and was therefore used pejoratively. Its critics saw this type of Medieval art as unrefined and too remote from the aesthetic proportions and shapes of Classical art. Renaissance authors believed that the Sack of Rome by the Gothic tribes in 410 had triggered the demis

26、e of the Classical world and all the values they held dear. In the 15th century, various Italian architects and writers complained that the new barbarian styles filtering down from north of the Alps posed a similar threat to the classical revival promoted by the early Renaissance.5 The Gothic qualif

27、ier for this art was first used in Raphaels letter to Pope Leo X c. 1518 and was subsequently popularised by the Italian artist and writer Giorgio Vasari, who used it as early as 1530, calling Gothic art a monstrous and barbarous disorder.7 Raphael claimed that the pointed arches of northern archite

28、cture were an echo of the primitive huts the Germanic forest dwellers formed by bending trees together - a myth which would resurface much later in a more positive sense in the writings of the German Romantic movement. Gothic art was strongly criticized by French authors such as Boileau, La Bruyre,

29、Rousseau, before becoming a recognized form of art, and the wording becoming fixed.8 Molire would famously comment on Gothic: The besotted taste of Gothic monuments, These odious monsters of ignorant centuries, Which the torrents of barbary spewed forth. Molire. In its beginning, Gothic art was init

30、ially called French work (Opus Francigenum), thus attesting the priority of France in the creation of this style.,Angel of the Annunciation on the Church of Saint-Florent in Niederhaslach, 1310,8,Painting Painting in a style that can be called Gothic did not appear until about 1200, or nearly 50 yea

31、rs after the origins of Gothic architecture and sculpture. The transition from Romanesque to Gothic is very imprecise and not at all a clear break, and Gothic ornamental detailing is often introduced before much change is seen in the style of figures or compositions themselves. Then figures become m

32、ore animated in pose and facial expression, tend to be smaller in relation to the background of scenes, and are arranged more freely in the pictorial space, where there is room. This transition occurs first in England and France around 1200, in Germany around 1220 and Italy around 1300. Painting dur

33、ing the Gothic period was practiced in four primary media: frescos, panel paintings, manuscript illumination and stained glass. Frescoes Frescoes continued to be used as the main pictorial narrative craft on church walls in southern Europe as a continuation of early Christian and Romanesque traditio

34、ns. An accident of survival has given Denmark and other Nordic countries the largest groups of surviving church wall paintings in the Biblia pauperum style, usually extending up to recently constructed cross vaults. They were almost all covered with limewash after the Reformation which has preserved

35、 them. Among the finest examples are those of the Elmelunde Master from the Danish island of Mn who decorated the churches of Fanefjord, Keldby and Elmelunde. Stained glass In northern Europe, stained glass was an important and prestigious form of painting until the 15th century, when it became supp

36、lanted by panel painting.,French late Gothic frescos,9,Gothic architecture greatly increased the amount of glass in large buildings, partly to allow for wide expanses of glass, as in rose windows. In the early part of the period mainly black paint and clear or brightly coloured glass was used, but i

37、n the early 14th century the use of compounds of silver, painted on glass which was then fired, allowed a number of variations of colour, centred on yellows, to be used with clear glass in a single piece. By the end of the period designs increasingly used large pieces of glass which were painted, wi

38、th yellows as the dominant colours, and relatively few smaller pieces of glass in other colours. Manuscripts and printmaking Illuminated manuscripts represent the most complete record of Gothic painting, providing a record of styles in places where no monumental works have otherwise survived. The ea

39、rliest full manuscripts with French Gothic illustrations date to the middle of the 13th century. Many such illuminated manuscripts were royal bibles, although psalters also included illustrations; the Parisian Psalter of Saint Louis, dating from 1253 to 1270, features 78 full-page illuminations in t

40、empera paint and gold leaf. During the late 1200s, scribes began to create prayer books for the laity, often known as books of hours due to their use at prescribed times of the day. The earliest known example seems to have written for an unknown laywoman living in a small village near Oxford in abou

41、t 1240. Nobility frequently purchased such texts, paying handsomely for decorative illustrations; among the most well-known creators of these is Jean Pucelle, whose work was commissioned by King Charles IV as a wedding gift for his bride, Jeanne dvreux. Elements of the French Gothic present in such

42、works include the use of decorative page framing reminiscent of the architecture of the time with elongated and detailed figures. The use of spatial indicators such as building elements and natural features such as trees and clouds also denote the French Gothic style of illumination. From the middle

43、 of the 14th century, blockbooks with both text and images cut as woodcut seem to have been affordable by parish priests in the Low Countries, where they were most popular. By the end of the century, printed books with illustrations, still mostly on religious subjects, were rapidly becoming accessib

44、le to the prosperous middle class, as were engravings of fairly high-quality by printmakers like Israhel van Meckenem and Master E. S. In the 15th century, the introduction of cheap prints, mostly in woodcut, made it possible even for peasants to have devotional images at home. These images, tiny at

45、 the bottom of the market, often crudely coloured, were sold in thousands but are now extremely rare, most having been pasted to walls.,10,Altarpiece and panel painting Painting with oil on canvas did not become popular until the 15th and 16th centuries and was a hallmark of Renaissance art. In Nort

46、hern Europe the important and innovative school of Early Netherlandish painting is in an essentially Gothic style, but can also be regarded as part of the Northern Renaissance, as there was a long delay before the Italian revival of interest in classicism had a great impact in the north. Painters li

47、ke Robert Campin and Jan van Eyck, made use of the technique of oil painting to create minutely detailed works, correct in perspective, where apparent realism was combined with richly complex symbolism arising precisely from the realistic detail they could now include, even in small works. In Early

48、Netherlandish painting, from the richest cities of Northern Europe, a new minute realism in oil painting was combined with subtle and complex theological allusions, expressed precisely through the highly detailed settings of religious scenes. The Mrode Altarpiece (1420s) of Robert Campin, and the Wa

49、shington Van Eyck Annunciation or Madonna of Chancellor Rolin (both 1430s, by Jan van Eyck) are examples.16 For the wealthy, small panel paintings, even polyptychs in oil painting were becoming increasingly popular, often showing donor portraits alongside, though often much smaller than, the Virgin

50、or saints depicted. These were usually displayed in the home. Sculpture ： Monumental sculpture French ideas spread. In Germany, from 1225 at the Cathedral in Bamberg onward, the impact can be found everywhere. The Bamberg Cathedral had the largest assemblage of 13th century sculpture, culminating in

51、 1240 with the Bamberg Rider, the first life-size equestrian statue in Western art since the 6th century. In Italy there was still a Classical influence, but Gothic made inroads in the sculptures of pulpits such as the Pisa Baptistery pulpit (1269) and the Siena pulpit. A late masterwork of Italian

52、Gothic sculptures is the series of Scaliger Tombs in Verona (early-late 14th century). In northern Europe the Dutch-Burgundian sculptor Claus Sluter and others introduced naturalism and a degree of classicism at the beginning of the 15th century which continued to develop throughout the century so t

53、hat when the change to a classicistic Renaissance style eventually arrived it was mainly marked by a change in architectural backgrounds and costumes, and some reduction in the complexity of compositions.,11,Manuscripts and printmaking Illuminated manuscripts represent the most complete record of Go

54、thic painting, providing a record of styles in places where no monumental works have otherwise survived. The earliest full manuscripts with French Gothic illustrations date to the middle of the 13th century. Many such illuminated manuscripts were royal bibles, although psalters also included illustr

55、ations; the Parisian Psalter of Saint Louis, dating from 1253 to 1270, features 78 full-page illuminations in tempera paint and gold leaf. During the late 1200s, scribes began to create prayer books for the laity, often known as books of hours due to their use at prescribed times of the day. The ear

56、liest known example seems to have written for an unknown laywoman living in a small village near Oxford in about 1240. Nobility frequently purchased such texts, paying handsomely for decorative illustrations; among the most well-known creators of these is Jean Pucelle, whose work was commissioned by

57、 King Charles IV as a wedding gift for his bride, Jeanne dvreux. Elements of the French Gothic present in such works include the use of decorative page framing reminiscent of the architecture of the time with elongated and detailed figures. The use of spatial indicators such as building elements and

58、 natural features such as trees and clouds also denote the French Gothic style of illumination. From the middle of the 14th century, blockbooks with both text and images cut as woodcut seem to have been affordable by parish priests in the Low Countries, where they were most popular. By the end of th

59、e century, printed books with illustrations, still mostly on religious subjects, were rapidly becoming accessible to the prosperous middle class, as were engravings of fairly high-quality by printmakers like Israhel van Meckenem and Master E. S. In the 15th century, the introduction of cheap prints, mostly in woodcut, made it possible even for peasants to have devotional images at home. These images, tiny at the bottom of the market, often crudely coloured, were sold in thousands but are now extremely rare, most