$30 off During Our Annual Pro Sale. View Details »

High Gothic Art

nichsara
April 20, 2013
37

High Gothic Art

nichsara

April 20, 2013
Tweet

Transcript

  1. High  Gothic  Art  in  France  
    Reading:  
    Stokstad,  505-­‐514.  
     
    Range:  
    1100-­‐1300  
    High  Gothic  
     
    Key  Terms/Concepts:  
    hemicycle,  tympanum,  
    jamb,    reliquary,  marginalia,  
    S-­‐Curve,  fleur-­‐de-­‐lis.  
    Monument  List:  
     17-­‐11,  Rose  Window  and  
    Lancets,  Chartres  
    Cathedral,  Gothic,  
    1230-­‐1235.  
     17-­‐14,  AnnunciaLon  and  
    VisitaLon,  Jambs,  West  
    Portal,  Reims  Cathedral,  
    1230-­‐1250.  
     17-­‐19,  Upper  Chapel  Ste.  
    Chapelle,  Paris,  Gothic,  
    1239-­‐1248.  

    View Slide

  2. Reminders  
    •  Your  Image  and  Text  essay  is  due  TODAY  May  
    2nd.    
    •  The  final  exam  is  Tuesday  May  14th  8:00-­‐10:00  
    in  Starz  12.  

    View Slide

  3. View Slide

  4. View Slide

  5. Rose  Window  
    Lancets  

    View Slide

  6. Melchizedek   David   Anna   Solomon   Aaron  

    View Slide

  7. Castles  =  CasLle   Fleur-­‐de-­‐Lis  =  France  

    View Slide

  8. View Slide

  9. “Invisible  Art”  

    View Slide

  10. View Slide

  11. View Slide

  12. View Slide

  13. View Slide

  14. View Slide

  15. View Slide

  16. View Slide

  17. View Slide

  18. View Slide

  19. View Slide

  20. View Slide

  21. View Slide

  22. View Slide

  23. View Slide

  24. View Slide

  25. View Slide

  26. View Slide

  27. View Slide

  28. View Slide

  29. View Slide

  30. View Slide

  31. View Slide

  32. View Slide

  33. View Slide

  34. View Slide

  35. View Slide

  36. 30˚
    20˚
    10˚

    Cu
    Cu
    Cu
    Cu
    Cu
    Pb
    Pb
    Sn
    Sn
    Venice
    Verona
    Assisi
    Rome
    Vienna Buda
    Innsbruck
    Prague
    Geneva
    Paris
    Rouen
    Arras
    Reims
    Espalato
    Durazzo
    Zara
    Trieste Belgrade
    Alexandria Damietta
    Famagusta
    Antioch
    Constantinople
    Smyrna
    Candia
    Kaffa
    Trebizond
    Moncastro
    Kiliya
    Syracuse
    Tripoli
    Messina
    Palermo
    Tunis
    Algiers
    Granada
    Palma
    Cádiz
    Córdoba
    Seville
    Melilla
    Lisbon
    Southampton
    London
    Hull
    Mainz
    Worms
    Hamburg
    Bremen
    Cracow
    Breslau
    Danzig
    Kiev
    Novgorod
    Christiania
    Bergen
    Stockholm
    Nuremburg
    Lübeck
    Edinburgh
    Bruges
    Genoa
    Siena
    Marseille
    Cagliari
    Lyon
    Dijon
    Poitiers
    Aigues-
    Mortes
    Valencia
    Barcelona
    León
    Milan
    Tripoli
    Beirut
    Acre
    Jaffa
    Loire
    Ebro
    Tagus
    Danube
    Dneiper
    Rhine
    Elbe
    Seine
    L A N T I C
    C E A N
    N O R T H
    S E A BA
    L
    T I C
    S E A
    B L A C K S E A
    M E D I T E R
    R
    A
    N
    E
    A N S E A
    PYRENEES
    CARPATHIAN MTS
    A
    L
    P S
    CYPRUS
    CORSICA
    CRETE
    SARDINIA
    SICILY
    BALEARIC IS
    F R I C A
    E G Y P T
    0
    0
    300 miles
    400 kms
    raw materials:
    gold
    silver
    iron
    copper
    lead
    tin
    ivory
    timber
    wax
    gems
    silk
    spices
    hides
    wool
    linen
    furs
    Cu
    Pb
    Sn
    2 Trade and Transmission
    Venetian trade routes
    Genoese trade routes
    Hanseatic League trade routes
    major inland trade routes
    route of Fourth Crusade, 1202-04
    Fifth Crusade, 1217-21
    Seventh Crusade, 1248-54
    Eighth Crusade, 1270
    artistic influence from Paris
    artistic influence from Constantinople
    imported goods
    Louis’  Procession  

    View Slide

  37. View Slide

  38. View Slide

  39. View Slide

  40. View Slide

  41. View Slide

  42. View Slide

  43. View Slide

  44. View Slide

  45. Fleur-­‐de-­‐lis  
    Castle  =  CasLle  

    View Slide

  46. Fleur-­‐de-­‐lis  

    View Slide

  47. View Slide

  48. View Slide

  49. CriLcal  Thinking  QuesLons  
    1.  What  is  the  relaLonship  between  the  viewer  
    and  the  divine  in  Gothic  Europe?    How  is  that  
    relaLonship  show  in  Gothic  art?  
    2.  How  did  the  relaLonship  between  the  royalty  
    and  the  church  change  during  the  12th-­‐14th  
    centuries?  
    3.  What  is  secularizaLon?    What  social  and  cultural  
    changes  make  secularizaLon  possible?    How  is  
    that  reflected  in  Gothic  images?  
     

    View Slide