Art History –Images- Chap 16?

Dormition of Virgin, Strasbourg, France. c. 1230.

• Classicizing style and emotiona; expressiveness characteristics of German sculptures
  
• Coronation of the Virgin and death and assumption
  
• Christ received soul (doll-like figure in arms) and will carry it directly to heaven, where she will be enthroned next to him.
  
• Filled with dynamically expressive figures with large heads and short bodies clothed in fluid drapery that envelops rounded limbs.
  
• Deeply undercut, large figures stand out dramatically in crowded scene with vivid grief.
  

  
  

  Salisbury Cathedral, England, 1220-58.
  

• Gothic style spread to England added to Romanesque churches that hadn't been finished
  
• Salisbury is sprawling, flying buttresses only for show,
  
• west façade is wider than the church itself
  
• Stresses horizontal bands rather than verticality Very steep curve to the nave vaults
  
• It is unique in the fact that it stands alone in a field, compared to other cathedrals being located in the middle of cities
  

  
  

  Reims Cathedral of Notre Dame, Reims. Exterior
  

• Rebuilt in 1211 after fire in 1210; facade after 1230s was largely unfinished by 1287, towers left unfinished until 1311.
  
• Coronation church.
  
• Massive gable portals project forward, soaring peaks help to unify facade.
  
• Large windows fill portal tympanums, displacing sculpture usually found there.
  
• Deep porches contain sculptures that reflect changes in plan, iconography.
  
• Rose window fills entire clerestory level.
  
• "Gallery of kings" only strictly horizontal element of facade.
  

  
  

  Reims Cathedral Interior
  

• Double rose windows
  
• 445x98x125 feet
  
• Comprimised of a nave, aisles, transepts, a choir, and an apse
  
• Contained many fine tapestries
  

  
  

  Annunciation and Visitation, right side, central portal, west facade, Reims Cathedral, c. 1230-45.
  

• Visitation depicts Mary, pregnant with Jesus, who visits her older cousin Elizabeth, who is pregnant with John the Baptist
  
• Heavy figures have same solidity seen in Roman portrayals of noblewomen, and Mary's face, waving hair, and heavy mantle reflect imperial portrait statuary.
  
• Contrast between Mary and Elizabeth reminiscent of contrast between two Flavian portrait heads.
  
• Deftly modeled drapery not only to indicate pregnancy but to create stance in which weight shift turns figures toward each other.
  
• New freedom, movement, and sense of relationship implied in sculpture inspired later Gothic artists toward greater realism.
  
• Annunciation: Archangel Gabriel announces to Mary that she will bear Jesus.
  
• Mary in this pair is quiet and graceful, with slender body, restrained gestures, and refined features contrasts to Mary on right.
  
• Gabriel tall, gracefully swaying that suggests fashionable refinement associated with Parisian Court of 1250s.
  

  
  

  Sainte-Chapelle, Paris, 1243-48.
  

• Built to house Louis IX's prized collection of relics from Christ's Passion.
  
• Epitomizes new Gothic style known as Rayonnant ("radiant" or "radiating") because of radiating bar tracery.
  
• Hallmarks of style include daring engineering, proliferation of bar tracery, exquisite sculpture and painting, and vast expanses of stained glass. Ratio of glass to stone higher than any Gothic structure.
  

  
  

  Page with Louis IX and Queen Blanche of Castile, Moralized Bible, from Paris, 1226-34.
  

• Selected passages of Old and New Testaments are paired to give allegorical, or moralized, interpretation.
  
• King and Queen sit against solid gold background under trilobed arches.
  
• Below is scholar-monk dictating to scribe.
  
• Slightly oversized heads of queen and king preserve sense of hierarchical scale.
  

  
  

  Book of Hours of Jeanne d'Evreaux, page with Annunciation, Jean Pucelle, c. 1325-28.
  

• grisaille--monochromatic painting in shades of gray with faint tinges of color
  
• Mary shown receiving archangel Gabriel in Gothic-style home as rejoicing angels look on from windows under eaves.
  
• Group of romping children at bottom of page seems to echo joy of angels.
  
• Scholars have determined, however, that they are playing game that symbolizes Mocking of Christ. The game thus evokes darker mood, foretelling Jesus' death even before life begins.
  

  
  

  Dormition of Virgin, Strasbourg, France. c. 1230.
  

• Classicizing style and emotiona; expressiveness characteristics of German sculptures
  
• Coronation of the Virgin and death and assumption
  
• Christ received soul (doll-like figure in arms) and will carry it directly to heaven, where she will be enthroned next to him.
  
• Filled with dynamically expressive figures with large heads and short bodies clothed in fluid drapery that envelops rounded limbs.
  
• Deeply undercut, large figures stand out dramatically in crowded scene with vivid grief.
  

  
  

  Salisbury Cathedral, England, 1220-58.
  

• Gothic style spread to England added to Romanesque churches that hadn't been finished
  
• Salisbury is sprawling, flying buttresses only for show,
  
• west façade is wider than the church itself
  
• Stresses horizontal bands rather than verticality Very steep curve to the nave vaults
  
• It is unique in the fact that it stands alone in a field, compared to other cathedrals being located in the middle of cities
  

  
  

  Reims Cathedral of Notre Dame, Reims. Exterior
  

• Rebuilt in 1211 after fire in 1210; facade after 1230s was largely unfinished by 1287, towers left unfinished until 1311.
  
• Coronation church.
  
• Massive gable portals project forward, soaring peaks help to unify facade.
  
• Large windows fill portal tympanums, displacing sculpture usually found there.
  
• Deep porches contain sculptures that reflect changes in plan, iconography.
  
• Rose window fills entire clerestory level.
  
• "Gallery of kings" only strictly horizontal element of facade.
  

  
  

  Reims Cathedral Interior
  

• Double rose windows
  
• 445x98x125 feet
  
• Comprimised of a nave, aisles, transepts, a choir, and an apse
  
• Contained many fine tapestries
  

  
  

  Annunciation and Visitation, right side, central portal, west facade, Reims Cathedral, c. 1230-45.
  

• Visitation depicts Mary, pregnant with Jesus, who visits her older cousin Elizabeth, who is pregnant with John the Baptist
  
• Heavy figures have same solidity seen in Roman portrayals of noblewomen, and Mary's face, waving hair, and heavy mantle reflect imperial portrait statuary.
  
• Contrast between Mary and Elizabeth reminiscent of contrast between two Flavian portrait heads.
  
• Deftly modeled drapery not only to indicate pregnancy but to create stance in which weight shift turns figures toward each other.
  
• New freedom, movement, and sense of relationship implied in sculpture inspired later Gothic artists toward greater realism.
  
• Annunciation: Archangel Gabriel announces to Mary that she will bear Jesus.
  
• Mary in this pair is quiet and graceful, with slender body, restrained gestures, and refined features contrasts to Mary on right.
  
• Gabriel tall, gracefully swaying that suggests fashionable refinement associated with Parisian Court of 1250s.
  

  
  

  Sainte-Chapelle, Paris, 1243-48.
  

• Built to house Louis IX's prized collection of relics from Christ's Passion.
  
• Epitomizes new Gothic style known as Rayonnant ("radiant" or "radiating") because of radiating bar tracery.
  
• Hallmarks of style include daring engineering, proliferation of bar tracery, exquisite sculpture and painting, and vast expanses of stained glass. Ratio of glass to stone higher than any Gothic structure.
  

  
  

  Page with Louis IX and Queen Blanche of Castile, Moralized Bible, from Paris, 1226-34.
  

• Selected passages of Old and New Testaments are paired to give allegorical, or moralized, interpretation.
  
• King and Queen sit against solid gold background under trilobed arches.
  
• Below is scholar-monk dictating to scribe.
  
• Slightly oversized heads of queen and king preserve sense of hierarchical scale.
  

  
  

  Book of Hours of Jeanne d'Evreaux, page with Annunciation, Jean Pucelle, c. 1325-28.
  

• grisaille--monochromatic painting in shades of gray with faint tinges of color
  
• Mary shown receiving archangel Gabriel in Gothic-style home as rejoicing angels look on from windows under eaves.
  
• Group of romping children at bottom of page seems to echo joy of angels.
  
• Scholars have determined, however, that they are playing game that symbolizes Mocking of Christ. The game thus evokes darker mood, foretelling Jesus' death even before life begins.
  

  
  

  16.52 Saint Maurice
  

  -From Magdeburg Cathedral, Magdeburg, Germany
  

  -c. 1240-50
  

  -dark sandstone w/ traces of polychromy
  

  -the cathedral was dedicated to Saint Maurice and his relics were preserved there
  

  -the leader of a group of Egyptian Christians and martyred w/ his toops in 286
  

  -portrayed w/ black African features
  

  -represents a distinctly different ideal of warriorship and manhood compared to Saint Theodore from Chartres
  

  
  

  16.53 Ekkehard and Uta
  

  -from the west chapel sanctuary, Naumburg Cathedral, Naumburg, Germany
  

  -c. 1245-60; stone, originally polychromed; approx. 6'2''
  

  -Ekkehard of Meissen appears as a proud warrior and no-nonsense administrador
  

  -his Polish-born wife, Uta appears coolly elegant, artfully draws her cloak to her cheek
  

  
  

  16.54 Vesperbild
  

  -from Middle Rhine region, Germany
  

  -c. 1330; wood; height 34 ½''
  

  -Mary mourning her son
  

  -blood gushes from the hideous rosettes that are the wounds of an emaciated Jesus
  

  
  

  16.55 Arnolfo di Cambio, Francesco Talenti, Andrea Orcangna, and others. Florence cathedral, Florence
  

  -begun in 1296; redesigned 1357 and 1366
  

  -drum and dome by Brunelleschi, 1420-36; campanile by Giotto, Andrea Pisano, and Francesco Talenti; c. 1334-50
  

  -several modifications were made
  

  
  

  16.58 Nicola Pisano. Pulpit, Baptistry, Pisa
  

  -1260; marble; height approx. 15'
  

  -The six-sided structure is open on one side for a stairway
  

  -supported by columns topped w/ leafy Corinthian capitals and standing figures flanking Gothic trefoil arches
  

  -format, style, and technique of Roman sarcophagus reliefs
  

  
  

  16.63 Duccio di Buoninsegna. Virgin child in majesty
  

  -from the main panel of Matesta Altarpiece, from Siena Cathedral
  

  -1308-11; tempera and gold on wood panel; 7' by 13'6 ¼''
  

  -dedicated to the Virgin
  

  
  

  16.68 Cimabue. Virgin child enthroned
  

  -from the Church of Santa Trinita "Holy Trinity", Florence
  

  -c. 1280; tempera and gold on wood panal; 11'7 ½ '' by 7'4''
  

  -follow the Byzantine iconography of the Virgin Pointing the Way
  

  -Virgin sits surrounded by saints, angels, and Old Testament prophets
  

  -infant Jesus is in his lap
  

  
  

  16.69 giotto di bondone, virgin and child enthroned
  

  -from the Church of the Ognissanti "All Saints", Florence
  

  -c. 1310; tempera and gold on wood panal; 10'8'' by 6'8 ¼'
  

  -still retains some of Cimabue's conventions
  

  -Byzantine influence
  

  -Mary seems to burst forth from her slender Gothic baldachin
  

  -three-dimensional
  

  
  

  16.70 saint francis master. Miracle of the crib at Greccio
  

  -fresco in upper church of san Francesco, Assisi, Italy
  

  -c. 1295-1301/30
  

  -the legendary story of San Francis making the first creche, a Christmas tableau representing the birth of Jesus, the church at Greccio
  

  -richly dressed people (presumably patrons of the church) stand at the left, and women (normally excluded from the sanctuary) look on through an opening in the screen