Middle Of The 13th Century example essay topic

Taganrog 2010 Gothic is the term generally used to denote the style of architecture, sculpture, and painting that developed from the Romanesque during the 12th century and became predominant in Europe by the middle of the 13th century. The many variations within the style are usually distinguished by the use of chronological or geographical terms (for example, early, high, Italian, International, and late Gothic). Early Gothic One of the moves away from Byzantine influence took the form of a softer, more realistic style whose general characteristics survived until the middle of the 13th century. In France the style is particularly noticeable in a series of magnificent Bibles Moralisees (books of excerpts from the Bible accompanied by moral or allegorical interpretations and illustrated with scenes arranged in eight paired roundels, resembling stained glass windows) done probably for the French court c. 1230-40.

In England the new style appears in numerous manuscripts -- for instance, the psalter done for Westminster Abbey (British Museum, London; Royal MS. 2 a XXII) and the Amesbury Psalter (c. 1240; All Souls College, Oxford). A particularly individual application of it is found in the manuscripts attributed to the chronicler Matthew Paris and in a series of illustrated manuscripts of the Apocalypse. Notre-Dame, Paris, 1163-1258. Unlike most cathedrals, Notre-Dame still represents the heart of its city. After eight centuries, it remains a point of reference for French art, from its foundations built in 1163 on the site of an old temple dedicated to the Roman god Jove, to the 19th-century restoration work by Viollet-le-Duc.

The portals retain some of the original sculpture. The transept was added in the 13th century The interior is dominated by the soaring vaults, the feeling of infinite space, and the austerity of the cylindrical columns in the double aisles. High Gothic Certain characteristic of high Gothic sculpture spread to influence painting about 1250-60. Probably the first place where this became evident was Paris, where Louis IX (St. Louis) was a leading patron. In an evangelary (a book containing the four Gospels) prepared for use at the Sainte-Chapelle (Louis IX's palace chapel), one can see the early Gothic pictorial style superseded quite abruptly by a drapery style incorporating the large, rather angular folds of the Joseph Master (Bibliotheque Nationale). Combined with this style was a growing emphasis on minute detail almost as an end in itself; faces, in particular, became tiny essays in virtuoso penmanship.

Although details such as faces and hands continued to be described chiefly by means of line, in a subsequent development drapery and other shapes were modeled in terms of light and shade. This "discovery of light", partial and piecemeal as it was, began around 1270-80 but is particularly associated with a well-known Parisian royal illuminator called Master Honore, who was active about 1288-1300 or later. It is possible that this new use of light was stimulated by developments in Italian painting. However that may be, Italian influence emerged quite clearly in the second quarter of the 14th century, in the workshop of the Parisian artist Pu celle Jean.

More than a dozen books have been associated with this artist; most show an awareness of the recent Italian discovery of perspective in the portrayal of space and some an awareness of Italian iconography. The French style was introduced fairly rapidly into England. Although Henry apparently was not a bibliophile, various manuscripts executed for his immediate family contain echoes of the dainty and minute style of Louis IX's artists. Some large-scale paintings that demonstrate similar stylistic traits, notably the "Westminster Retable", survive in Westminster Abbey. Late Gothic The key to much 15th-century painting in northern Europe lies in the Low Countries. The influence of Paris and Dijon decreased, partly because of the renewal of the Hundred Years' War between England and France and partly because of the removal of the Burgundian court, after the mid-1420's, from Dijon to Brussels, which subsequently became the centre of an extensive court patronage.

The founder of the Flemish school of painting seems to have been Robert Campin of Tournai. The works of Campin, his pupil Rogier van der Weyden, and Jan van Eyck remained influential for the whole century. One of the most important discoveries of the period of about 1430 -- especially in the work of van Eyck -- was the multifarious effects a painter can achieve by observing the action of light. These early Flemish artists found that light can define form, shape, and texture and that, when captured in a landscape, it can help convey a mood. Rogier van der Weyden also explored the problems of conveying emotion. A development in the rendering of the drapery -- the so-called crumpled style of hard angular folds -- is particularly clear in the paintings of Campin.

Portraiture made dramatic progress during this period. Portraits were obviously not new; sculptors were already experimenting in the 14th century with life -- and death -- masks. But the brilliant use of lighting gives the portraits of Jan van Eyck, for instance, a vivid life hitherto quite unknown. - {}, , , , 12- 13-. {} {; } (, , , , , ).

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- {} - Campin. {}. ; 14-Eyck, , , . Gothic is the term generally used to denote the style of architecture, sculpture, and painting that developed from the Romanesque during the 12th century and became predominant in Europe by the middle of the 13th century. One of the moves away from Byzantine influence took the form of a softer, more realistic style whose general characteristics survived until the middle of the 13th century. Romanesque- Distinguished- International- Byzantine influence- Bibles- Abbey- Notre-Dam- - Transept- Louis IX- IX Drapery-.