Arte Gotico

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Gothic art.












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Gothic art

Gothic art was a style of Medieval art that developed in France out of Romanesque art in the mid-12th century, led by the concurrent development ofGothic 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 late14th century, the sophisticated court style of International 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, fresco and illuminated manuscripts. The easilyrecognisable 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 was monumental sculpture, on the walls of Cathedrals and abbeys. Christian art was often typological in nature (see Medieval allegory), showingthe stories of the New Testament and the Old Testament side by side. Saints' lives were often depicted. Images of the Virgin Marychanged from the Byzantine iconic 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 ofcities, foundation of universities, increase in trade, the establishment 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 representation of secular themes in art. With thegrowth of cities, trade guilds were formed and artists were often required to be members of a painters' guild—as 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 sign their names.

Gothic architecture is the result of an engineering challenge: how to span in stone ever-wider surfaces fromever-greater heights? While most early medieval churches were covered with timber ceilings, many Romanesque buildings have either stone barrel vaults (i.e., semi-circular) or groin vaults (i.e., bays of barrel vaults crossing at a right angle). Their walls are necessarily thick to counter the outward thrust of the vault, and they allow only small windows. From 1100 onward, architects experimented withinnovations that, once properly combined, allowed the dissolution of the wall and a fluid arrangement of space. For example, they adopted the pointed arch, which has a lesser lateral thrust than the round arch and is easily adaptable to openings of various widths and heights. They also developed a system of stone ribs to distribute the weight of the vault onto columns and piers all the way to theground; the vault could now be made of lighter, thinner stone and the walls opened to accommodate ever-larger windows. Equally important, flying buttresses began to appear in the 1170s, whose vertical members (uprights) are connected to the exterior wall of the building with bridge-like arches (flyers). These external structures absorb the outward thrust of the vault at set intervals just underthe roof, making it possible to reduce the building’s exterior masonry shell to a mere skeletal framework. 

The new architectural grammar was first coherently articulated in the ambulatory (chevet) of the royal abbey church of Saint-Denis, north of Paris, built under Abbot Suger between 1140 and 1144. Two concentric aisles are separated by slender columns: the outer aisle is covered by...
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