Old and New

Essay 5b:

Old And New

Question: Could the art of the Gothic Period be concidered "new" and if so, could geography have been a factor and, what else could have contributed to it?

Part 1:

Summary: I found that this question was to focus in on the relations the Gothic Art had to prior cultures art. Not only did I find "new" development as the question asks but also work greatly inspired by prior cultural techniques.

Reason: This question was to help find the connections between Gothic Artwork to other developed works.

Purpose: This was question seemed to focus the student ( myself) into not just believing that cultures died.

Direction: I had honestly though prior to reading about this time period that art had "died" off, as if the "greats" did no pass it down, or that they just progressed through history without so much as setting eyes on the works of the Greeks and Romans.

Impressions: Looking through the imagines, especially in the textbook, i was pretty amazed at some of the work. I had thought them to be more "simplified", but I quickly noticed the complexities that had taken shape in the Gothic Period.

Part 2:

The Gothic Period of art could, through a dictionary term, be concidered "new". As stated by the Merriam-Webster Dictionary, "new" means "having recently come into existence" (www.merriam-webster.com ). Is this a good enough word to discribe the Gothic Period though? Through some research, one would argue otherwise. Inherited would be a better word choice.

Not only did the Northern Europeans inherit the qualities of their artwork, but they often were influenced by prior cultures artwork which aided in creating the uniquness. These works included architecture, painting, sculpture, stained-glass work, and book illumination.

Figure 16-5 p.497. Cathedral of Notre-Dame, Paris.
 



Schematic Drawning : Chartres Cathedral p.499

Currently in both Figure 16-5 and of the schematic drawning, there is evidence of romanesque architecture. In basic design they both keep to the Romanesque ideal of a long central nave with a west facing entry portal. However the Gothic style gives way to a more elaborated facade, flying buttresses and a tall main spire. It was no mistake that this happened though. The development of architecture was due to the where it was being constructed. "Within 100 years, an estimated 2700 Gothic churches, shimmering with stained glass and encrusted with sculpture, were built in the Ile-de-France region alone" (Art History, Marilyn Stokstad, Michael Cothren p.492). Bishops, Abbots, and Clergy collected taxes as well as made rounds with relics to procure enough money to build these amazing works of architecture. They also were able to bring many craftsmen together this way as well. Artisans that would be skilled in metalworking, masonry, stained-glass, and sculpture. It generated in influx of people from all around Europe to obtain work. People came from as far as Italy to produce such wonderful places. These people also brought influence.

In a side note, it seems absolutely amazing, and ingenius that they would make the churches face west. As the rising sun shown through the marvelous stained glass it would coat the entire nave, very possibly full of a pilgrimage. This would no doutedly leave the people with a sense of wonder, beauty, and the feeling of "God". Such an amazing spectical.



Fig. 16-1 :Scenes From Genesis; From the Good Samaritan Window (Notre-Dame; Chartes). p.491

Stained-glass were amazing creations of art work. They were commonly built/crafted at the same time the Masons were building. These elegant windows were yet another example of inherited ideas. Glass work was already a well know trade in southern Europe. And the creation of mosaics was as well. Bringing the two together was a costly process (Art History, Marilyn Stokstad, Michael Cothren p.497).  It would seem that Roman influence came as well. Each panel was painted with incredible draperies, as well as emphasis on th emotion of the face. For the smaller scenes it was bold lines that create the emphasis.

Fig 16-16 Reims Cathedral, West Facade. p.506

Sculpture was also a marvelous feat in the facades and exterior of the churches. An excellent example of inherited artwork are these two scenes. To the left Gabriel tells Mary the news of her becoming the Mother of God, to the right Mary tells her cousin Elizabeth, who is pregnant with St. John the baptist, the news. In comparison the figures are different in complexities. It also shows the timeline in which they were created. From the left, Gabriel was the earilest to be created and is show with the exagerated "goo-goo" eyes and smile. While to the right of him, Mary, was created later as she displays a more realistic eye. And finally the the scene on the right, was done by probably a third artist. They are covered in Roman technique: the heavy drapery, the representation of age between Mary and then to Elizabeth, and finally their Contrapposto stance as they shift their weight (Art History, Marilyn Stokstad, Michael Cothren p.506).

Fig 16-28 Shrine of Three Kings p.520

A combination of metalwork and sculpture, the Shrine of Three Kings was created in the Rhine River Valley region. "Ancient Romans had built camps and cities in this area, and Classical influence lingered on through the Middle Ages" (Art History, Marilyn Stokstad, Michael Cothren p.520). the idea of Roman realism, and Byzantine influence were incredibly prevenlent in this area. In this piece, each character is their own, they each have all seperate expressions and are all peering off into different directions.

Fig. 16-29 St. Maurice p.521.

This figure also showed the Roman realism. St. Maurice was an Egyptian commander in the Roman army. "Detailing rendering of his costume of chain mail and riveted leather," and also his skin color (Art History, Marilyn Stokstad, Michael Cothren p.521). Roman influence in the region inspired the artist of this statue to give him the complexion that he truely had as an Egyptian.

Fig 16-31 Nicola Pisano Pulpit p.522

Finally, the Nicola Pisano Pulpit. Italy should have been called the melting pot. This piece of art could almost be seen as multiple creators due to the inspiriations of the many cultures. From the bottom, the lions catch the eye, the texture of the manes and stout round bodies could almost seem eastern Asian in influence. Above them are the pillars. These are very close to the Corinthian Order of pillars,with the Rosette capitals and tapered colums. The archways between those seem of Byzantine influence. Around those and above are the inlayed figures of Saints and people in the dipiction of Christ. These both take the Roman style along with the works of Christianity. Their realism and natural setting convey the idea of pathos to the onlookers of the piece (Art History, Marilyn Stokstad, Michael Cothren p.524).

In conclusion, the artwork of the gothic period was very influential of region and geography. Without the  age of Churches artisans would not have come together in the flocks that they did. Also in may of the regions, Roman realism was still around to influence them. They may not have had the classical training but they could inherit the ideas that the classical works had shown. In a way the works were "new". They were pieces and structures that were never seen before, however the styles were not concieved out of thin air. Not much in the way of art can really be concidered new, just an innovation on the current ideas. Without the expansion of such much culture the Gothic Period would be as sad as the Dark ages and their artwork.