Gothic Sculpture
Comparative Civilizations 12 Kevin J. Benoy
Evolution From Romanesque
Romanesque sculpture served a decorative function and tended not to exist separate from the architecture that it resided in.
Note this 12th century example from Haughmond Abbey in Shropshire, England.
Evolution From Romanesque
Romanesque sculpture tended to exhibit a rigid symbolism that separated it from the natural world.
Tympanum, Autun Cathedral
Evolution From Romanesque
The symbolic differentiation in sizes of figures is lost. Even Christ is now depicted proportionally to lesser souls, as in the South transept tympanum of Chartres Cathedral.
Gothic Realism
And Mary in a Death of the Virgin tableaux. The new Gothic style eventually showed a realism that was startling. Tympanum, Strasbourg Cathedral
Gothic Realism
Annunciation and Visitation, jamb statues, west portal, Reims Cathedral, c.1225-1245
The Gothic Style
Sculptural forms slowly lost their function as architectural detailing.
As is seen in the change from the decoration of Chartres Cathedral from the earlier West portal to that of the North transept.
The Gothic Style
It would not be difficult to imagine the jamb figures from Chartres Cathedral existing free of their architectural constraints.
Gothic Sculpture Revived Classical Form
There is a reappearance of the style of drapery seen in late classical sculptures. It reflects natural, rather than symbolic, form.
Gothic Sculpture Revived Classical Form
We even find a revival of the classical contraposto stance, as can be seen in the Virgin of Paris (Notre Dame).
Gothic Humanity
While Romanesque sculpture tended to be stern, Goth sculpture became warmer, much of it showing a kindly view of life.
Gothic Humanity
The Wise Virgins Magdeburg Cathedral
Gothic Humanity
Last judgment scenes, so popular in the Romanesque period, are less popular, and tympanums are now graced with happy or emotional scenes from this life and the next.
Coronation of the Virgin, Strasbourg Cathedral
Gothic Humanity
The Kiss of Judas, Naumburg Cathedral
Gothic Humanity
Saint Joseph, Rheims Cathedral
Extreme Emotion
Wooden sculpture was an art form much admired in Germany. The finished product was vividly painted. Though the Pieta shown to the left might not appear as realistic as other Gothic sculptures. The emotion portrayed is very real. The physical exaggeration and lurid colour serve to heighten the emotional impact.
Claus Sluter
Most Medieval sculptors remain anonymous, known only as the Master of Naumburg or of another location. One late Gothic sculptor is well-known, Claus Sluter. This Netherlandish sculptor is one of the greatest craftsmen of all time.
Claus Sluter Chartreuse de Champmol Sluter did most of
his work for the Duke of Burgundy, one of the wealthiest and most powerful men of his day. At Chartreuse de Champmol, his sculptoral figures on the cathedral portal form a unified scene that overshadows the architecture.
Claus Sluter Chartreuse de Champmol
Jamb statues in the scene attend to the Madonna on the Trumeau. Phillip the Bold, Sluters patron, is shown worshipping the Holy Virgin.
Claus Sluter The Moses Well
Within the church lies another of his masterpieces, the Moses Well. Here are some of the Middle Ages most vivid portrayals of humanity.
Claus Sluter The Moses Well
Claus Sluter The Moses Well
The Prophet Jeremiah The Moses Well, Chartreuse de Champmol
Claus Sluter Tomb of Phillip the Bold
Sluters last work was a commission he picked up from another master, whose workshop he took over. Sluter, himself, died before it was completed.
Italian Gothic
In sculpture, as in architecture, Italy, for the most part, did not mimic the style of the European North now described as International Gothic. Classical models had a much greater influence.
Italian Gothic The Pisano Family
Nicola Pisano is one of the best known Italian Gothic sculptors. He installed the marble pulpit of Pisa Cathedrals Baptistry in 1260. Its panels have a distinctly classical look.
Nicola Pisano Pisa Baptistry Pulpit
Giovanni Pisano
Nicolas son, Giovanni, upheld the familys reputation for outstanding craftsmanship.
Italian Gothic
Italian sculptors were less inclined to create grand sculptural concepts, focusing instead on smaller, more limited creations.
Nino Pisano, La Madonna del Latte
Finis
