Saints Martin, Jerome, and Gregory. Chartres Cathedral

Portal of the Suth Transept, Porch of Confessors, Jamb statues (right doorway)

1220-1230

Sig #1:  figures come out of the jambs like reliefs, similar to ancient Greek statue columns.  Represents the Apostles being "columns of the church" in the bible.

Sig #2: Unlike the royal portal statues, they have individual personalities and turn slightly to the right/left, breaking the rigid vertical lines.  Reveal the great changes Gothic sculpture underwent since the Royal Portal Staatues of the mid-12th century

Gothic I, Chartres cathedral, virgin and child with Angels, stained glass window in the choir, c. 1170, side panels 13th-century

Sig #1:  Mary is beautiful, young worldly queen of heaven, unlike the earlier representations of mary (Theotokos and child) in Byzantine art. Blue background (color of love),unlike origional red background.

Sig #2:  Light entered the church and transformed into lux nova. Created a very dramatic atmosphere of the church. In a way illuminated the Virgin and bringing her to life.

Chartres Cathedral

portal of s. transept

Saint Theodore from the left doorway

1230

Sig#1:  portrayed as a ideal contemporary knight.  Refined and delicate, unlike early gothic jamb statues.  Reflecting the new ideal of a gentleman and knoble knight.

Sig#2:  Head is turned, hip swung out, like Greek statuary, bringing his figure to life.

Death of the Virgin

Tympanum of L doorway, S trasept

Strasbourg Cathedral 

Strasbourg, France

1230

Sig#1:  Apostles express profound sorrow through dramatic poses and gestures, and varrying degrees of intensity, creating human personification through the statues.

Sig#2:  loosley antiqued drapery, characteristic of ottonian art, to give the figures rhythmic electric pulse, and stir the viewer's emotions. Represents the humanizing trend of Gothic Germany.

Virgin with the dead Christ (Rottgen Pieta)

from the Rhineland, Germany,

1300-1325

Painted Wood

Sig #1: The Virgin's maternal anguish comforted those going through war, plague, famine, etch.  Humanizing Mary, unlike Byzantine Theotokes. Creates emotional connection between the viewer. Unlike Romanesque depictions of Mary. Addresses the private person in appeal to the emotions, as common in 14th c art.

Sig#2:  Christ distorted in death and gushing blood, makes him appear mortal, unlike the early Christian crusifix representations where Christ appears victorious in death.  Humanizing Christ, as was the trend of Late Gothic art.

Ekkehard and Uta

Statues in the W choir

Naumburg Cathedral

Naumburg Germany

1249-1255

Painted Limestone

Sig #1:  Sculptures of knobleman and wife that were benefactors of the church, unlike earlier churches, these are not religious figures.  This shows the growth of aristocracy influence on the church.

Sig #2:  Uta turns aknowledges the viewer by covering her face with her cloak.  Individual Characterization following the trend of Humanization of the end of the Gothic era.

Equestrian Portrait

E choir Bamberg Cathedral, Germany

1235-1240

Sandstone

Sig#1:  Rider turns and gazes over viewers, unlike the equestrian portrait of an emperor who addresses the viewer, suggesting he is reviewing troops.

Sig#2:  canopy too small for whole statue, unlike Ekkehard and Uta whose canopy covers both figures, suggesting that the statue's original location was different. 

The castle of Love and Knights Jousting

lid of a jewelry casket

Paris, France

1330-1350

Ivory and Iron

Sig #1:  Ivory reliefs inspired by romantic literature, ssecular and not religious themes like most art since ancient Rome, themes represent the new idea of the Gothic period of courtly love. 

Virgin and Child

Krumau Madonna or Kumlov Madonna

c. 1390s-1400

Bohemia (Czech Republic)

Sig #1:  Very kind and loving persona of Virgin, creating a comparison between passionate love and death.  Influencing an emotional response from the viewer, which is very common in Gothic art. 

Sig#2:  Very elegant drapery and delicate nature of the Christ child, similar to courtly love of French art, creates an emotional desire to love and nurture Christ like Mary.

Jean Pucelle

David Before Saul

Belleville Breviary

Paris France

c. 1325

Ink and tempera on Vellum

Sig#1:  Figures are in a 3 dimensional architectural setting, unlike other French artists' work, as influenced by Duccio's work in Siena.

Sig#2: Border decoration shows close observation of the natural world, similar to late midieval marginalia, and similar to Celtic interlace.

Sig#3:  Pucelle's name appear at the end of the book, unlike earlier illuminated books, representing the increase in professionalism associated wtih an artist's job.

Virgin and Child

Notre-Dame

Paris, France

Early 14th c.

Sig#1: Tender portrayal of Mary and Christ, unlike byzantine Theotokes, shows the  solemnity of Early and high gothic religious figures.

Sig#2:  Mary represented in elegant figure with curved posture typical of late gothic sculpture.  Also, decked out in adormed crown as worldly queen.  Represents the "courtly style".

Rose Window and lancets

Chartres Cathedral N Transept

c. 1220

Stained glass

Sig#1: Enthroned Virgin and Christ appear at the center of the rose, resembling a gem-studded book cover

Sig#2: Gift from the Queen of France, representing her family's gift to God and desire to receive his forgiveness, a theme that emerges shortly after the gothic period.

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Reims Cathedral

Reims France W Facade

c. 1225-1290

Sig#1:  The two towers are the same hight, unlike many earlier churches, meaning that they were finished close to the same time.

Sig#2: Statues and Reliefs celebrate the virgin mary, as many gothic churches are dedicated to the cult of mary.  Prine example of high gothic style.

sig#3:  statues of different style:  took decades to complete, required many sculptors.

Visitation

Jamb statues central doorway, w facade

reims cathedral

reims, france

ca. 1230

sig#1:  classical drapery, similar to Roman statues, showing the influence ancient Roman art played in Gothic art.

sig#2:  swaying of hips, bent legs, arms in motion, conversing between mary and the angel represent naturalistic personification present in many Gothic pieces. 

Sainte-Chapelle

Paris, France

1234-1248

sig#1:  6450 square feet of stained glass create an earthly rose-violet atmosphere, no church had acheived a similar feat of its time.

sig#2:  built to be a repository for the crown of thorns and other relics by Lois IX, and joined to royal palace.   Integration of aristocracy and church, becomes more common after gothic period.

Amiens Cathedral

Amiens, France

1220

Robert de Luzarches, Thomas de Cormont, and Renaud de Cormont

Sig#1:  Rectangular-bay system, four-part rib vault, buttressing system, permitting complete dissolution of heavy masses and thick walls.  Skeletal architecture reached full maturity, example of high gothic architecture.

Sig#2:  Sunlight entering from clerestory creates the effect of buouyant lightness, similar to Hagia Sophia.

Amiens Cathedral

Amiens, France

1220

Robert de Luzarches, Thomas de Cormont, and Renaud de Cormont

Beau Dieu (Beautiful God)

Amiens Cathedral

Amiens, France

1220

Robert de Luzarches, Thomas de Cormont, and Renaud de Cormont

Sig#1:  Stands freely independent of architectural setting, uncommon for a statue of Christ.

Sig#2: Christ as a judge, trampling lion and dragon (evil forces), unlike byzantine pantokrator, showing the new image of Christ. 

Pulpit of Pisa Cathedral Baptistery

pisa italy,

Nicola Pisano

1259-1260

marble

sig#1: lions support some of the columns, like medieval traditional pulpits,

sig#2: Capitals are very ornamented, like Gothic capitols,

panels are influenced from Roman sarcophagus reliefs.

Annunciation and the Nativity

Giovanni Pisano

Pulpit of Sant' Andrea Pistoia

Pistoia Italy

1297-1301

Marble

Sig#1: loosely arranged figures, nervous agitation, as if moved by spiritual passion, compared to his father's still and solid representation, reflecting his French Gothic influence.

Sig#2:

Fortitude

Detail of baptistry pulpit

Pisa, Italy

1259-1260

Marble

sig#1: Frontal Nude, hasn't appeared outside of origional sin reliefs since before early christian art.  Representing the recovery of Ancient Roman art.

sig#2: Figure alludes to Hercules (demi god of ancient mythology) who is virtuous, representing Christian virtue. Example of the growing theme of abstract concepts and human personification of human characteristics.

Annunciation, Nativity, and adoration of the shepherds

baptistery pulpit

pisa, italy

1259-1260

marble

nicola piasano

sig#1: densly packed large-scale figures derived from compositions found on roman sarcophagi. 

Sig#2:  The figures are bulky and are a result of classical relief sculpture influence.

Cimabue

crucifix

1270s

tempera on wood

sig#1:  Stretched body of Christ, unlike victorious christ of early Christian art, desires an emotional response from the veiwer.

Sig#2:  Detail in human body, stretching of skin, unlike the graceful and delicate body figures of the Gothic period, reflects the new naturalism of the Italian 14th century art.

Madonna Entrhoned with angels and prophets

Cimabue

c. 1280-1290

tempera on wood

sig#1:  recession of space acheived, the first artist to grasp this concept, but later to be seen through other artists such as Giotto, in pursuit of a new naturalism.

sig#2:  Gold background, similar to Byzantine art,

Arena Chapel decoration

Padua, Italy

1305-1306

Giotto

sig#1: backgound is blue, symbolizing heaven, unlike byzantine gold background, acts as a unifying agent for the multiple narative scenes.

sig#2: naturalistic approach to representation based on observation.

Santa Croce plan

Florence, Italy

1294

Sig#1: 18 chapels with individual alter and paintings, creates a competition for chapel decoration, jumpstarting Renaissance, more work for artists, more artists, competition causing inovation.

Santa Croce

Florence, Italy

1294

Interior

Kiss of Judas

Arena Chapel

Giotto

Padua, Italy

1305-6

sig#1:  Foreground character are turned away form the viewer, unlike any earlier art, causing the viewer to wonder what the figure's expression is.

Sig#2: figures move through the frame of the frescoe, an emerging theme through 14th centural Italian art.  Atists are now starting to be considered "thinkers", and are making more conscious decisions that make the viewer think.

Lamentation

Arena Chapel

Giotto

Padua, Italy

1305-1306

Sig#1:  Figures have very unique facial expressions of grief and pain, unlike byzantine lamentation, which shows the imergance of

sig#2:  Landscape used to point to the Virgin, with greatest expression of grief.  Langscape used in a way unlike anything seen prior to this period, artists are starting to have revolutionary

Madonna Enthroned

Giotto

c. 1310

Alterpiece

Tempera on Wood

Sig#1:  Bodies are round and full, shapes can be seen through clothing, unlike Cimabue's Madonna enthroned, reflecting a French stylistic influence.

Sig#2: Madonna's mouth is slightly opened, unlike anything before this piece, bringing the Virgin to life.

The Last Judement

Arena Chapel

Padua Italy

General view

Giotto

1305-1306