Gothic is a period in the development of art that existed in Central, Western and partly in Eastern Europe in the Middle Ages. She changed the Romanesque style, gradually replacing it. Gothic refers to all the works of that period: painting, sculpture, frescoes, stained glass windows, book miniatures. Often this style is characterized as "eerily majestic." The article will talk about the sculpture of the Romanesque and Gothic styles.
Rush up
To understand the art of Gothic sculpture, it would be appropriate to say a few words about the direction in general. Gothic originated in northern France in the middle of the 12th century, and in the 13th spread to the territories where today there are countries such as Germany, Austria, the Czech Republic, Spain, England. Later it penetrated into Italy, and even later into Eastern Europe, holding out there until the 16th century.
Unlike round arches, massive walls and small windows characteristic of the Romanesque style, Gothic architecture has arched tops, tall and narrow towers, columns, facades decorated with carved details, lancet, multi-color windows.
The origin of the term "gothic"
The term "Gothic" is characterized by an unusual story and connotation. Interestingly, contemporaries of this style have never used it. Probably, they would be very surprised to learn that the majestic monumental buildings, decorated with stained-glass windows and ornaments, would be called a word that is synonymous with the word "barbaric".
At first, the term “Gothic” was abusive, as it was interpreted by critics as describing a departure from classical ideas and proportions. In a broad sense, it denoted buildings with pointed arches. Unlike the horizontal one used in the Romanesque style, the vertical style was used here.
In romance art
To understand the features of Gothic sculpture, it should be said about the Romanesque style from which Gothic grew. In the Byzantine Empire, sculpture was rejected by the church, as it was associated with paganism. In Romanesque culture, monumental sculpture, and especially relief, is widespread. The beginning of its heyday dates back to 1100.
In those days, monumental and decorative art was used as a tool to intimidate apostates. Majestic complexes of Romanesque cathedrals arose, in the compositions of which there were often human figures who played a large role in them. These compositions were created on the themes of legends from the Holy Scriptures and edifying parables.
Central image
In Romanesque sculpture, it was Jesus Christ. In appearance and character he was brought closer to God the Father, who was seen as a terrible judge of the world, proclaiming an inexorable sentence to humanity.
Christian legends, parables, terrible apocalyptic visions, paintings of the Last Judgment and mythological images from ancient folk beliefs, either in the form of carnival masks or in the form of freaks with mocking grimaces, often coexisted fantastically on a stone sculpted carpet.
Next, it should be said about the role of sculpture in the Gothic cathedral.
Connection with architecture
Gothic sculpture of the Middle Ages was closely associated with architecture, like Romanesque. The cathedrals of both periods towered over the city, indicating the importance and great influence of religion in all areas of life.
Gothic sculptural style takes its origin in France. In this direction, the first works are statues located on the portal of the basilica in Saint-Denis, as well as in the Chartres Cathedral. Subsequently, it spread throughout Europe and was popular until the beginning of the New Age, when Gothic art was replaced by Renaissance art, focused on the traditions of antiquity.
Initially, the Gothic sculptures of France were created from stone blocks and at the same time remained part of them. Then independent, separately located statues did not exist. The slow development of plastic craftsmanship, aimed at sculpting individual figures with proportionally embodied parts of the body, began at the dawn of the 13th century.
They were characterized by many details and excesses. If the Greek sculpture reflected the ideas of visibility and simplicity, then Gothic leaned towards complexity, grotesque, elegance. It is such a complex mixture of ideas and elements that gives an idea that this is a figure made in this style.
Statues and reliefs
Like jewels adorning jewelry, statues were the decor for new buildings. Gothic sculptures were placed on the facades, helping to shape the outlines of structures and their drawing, they decorated portals, arches and buttresses. Along with frescoes and other works of fine art, in galleries, window frames, gables, outside the building and in its interior you can see monumental sculptural works.
The basis of the compositions, as in the Romanesque art, were mainly biblical and gospel stories. The bodies did not necessarily hide under clothes, and her covers emphasized forms. Masters conducted experiments, trying to give their creations more life and mobility. So, for example, crumpled or deep folds located on the dress near the statues emphasized the impetuosity of movements, their sharpness when turning.
Gothic sculpture in Spain and Italy
In Spain, she was oriented to French and therefore had many similarities with her. In Italy, an independent Gothic school of plastics developed. Here, sculpture was no longer necessarily associated with architectural solutions.
She served more to create a decor both indoors and outdoors. Statues were placed in parks, in city squares. Works related to the Italian school, less and less associated with the art of Byzantium and increasingly gravitated to antique patterns.
In Germany
There, at the beginning of the 13th century, mainly architects and sculptors worked, who studied with French masters. They preferred to install statues in the interior. The brightest representative of early Germanic Gothic plastic is the so-called Bamberg master. His sculptural figures have expressive faces and strong bodies.
At the same time, in Germany at that time there were other currents of Gothic architecture. For example, the sculptures adorning the Strasbourg Cathedral have heads that are made more skillfully than their bodies. The peak of the development of sculpture of the Gothic period in Germany came at the beginning of the 14th century.
The most popular themes were the image of the crucified Jesus Christ or other characters wounded and tormented by suffering. At the gathering of the Gothic period, a type of sculpture depicting the "beautiful Madonna" became widespread. This is Virgin Mary holding a baby in her arms. The craftsmen paid much attention to the decoration of the rich dress. They portrayed Mary herself as a young, beautiful, sensual girl.
In the late Middle Ages
Gothic sculpture of this period is completely subordinate to Christian ideology. It is still closely associated with architecture and is created in accordance with the rules regarding the image of sacred figures. As an independent art, it is also not considered.
The sculpture was intended not only to decorate monasteries and temples, but also served as load-bearing parts of complex architectural structures. And also, along with icons, she was an object of veneration.
Symbolism
Like medieval art in general, and Gothic art in particular, carry a symbolic meaning, being a kind of code. It includes the glorification of the deeds accomplished in the name of faith by Christian saints, and other biblical meanings. In addition to the characters of the Old Testament, Jesus, the Virgin Mary and the apostles, Gothic sculpture depicted kings, rulers, various statesmen. In these works of art, medieval restraint, detachment and static are already beginning to recede. It gives way to dynamism, emotionality, individualization of traits.
But these changes are only outlined, and while deliberate simplifications and schematics will replace the authenticity and humanism inherent in the Renaissance, several centuries will pass. Changes were made to the interpretation of the image of Christ by Gothic sculpture. As indicated above, in the early Middle Ages, he was considered as an omnipotent and formidable judge. Now he is increasingly appearing as a wise shepherd, a good mentor and teacher. His features are softened, on it you can see a semblance of a smile.
It should be noted that such changes do not apply to sculptures depicting a crucifix. The authors are doing their best to show the suffering of Jesus on the cross as vividly and reliably as possible. The masters of that era show an interest in the inner world of their heroes. Sculptors are looking for opportunities to convey the inner world of a person, especially his character. They notice the individuality of facial features, achieve realism in the image of poses, gestures, folds of clothing.
