09 Gothic and Early Netherlandish Art 1100-1500

09-01 Gothic Cathedrals

Gothic Cathedrals: A Briefing Document

This briefing document summarises the key themes and ideas presented in Dr. Laurence Shafe’s talk on Gothic Cathedrals, supplemented by information from ChatGPT. The talk explores the development of Gothic architecture from its origins in the Romanesque period to its Late Gothic iterations, primarily focusing on French and English examples. It highlights key architectural innovations, stylistic evolutions, and the cultural significance of these monumental structures.

1. Origins and Re-evaluation of the Term “Gothic”:

The term “Gothic” was initially used as a derogatory term by Italian Renaissance artists, particularly Giorgio Vasari, to describe medieval architecture as crude and barbaric compared to classical styles. The association with the Goths, who played a role in the fall of Rome, further reinforced this negative connotation. “The term Gothic was first used as a term of abuse by the Italian Renaissance artist and art historian Georgio Vasari to describe the architecture of the medieval period. He wanted to emphasise its crudeness and inferiority compared with the new much admired classical architectural styles.”
However, the 19th-century Gothic Revival saw a re-evaluation and appreciation of Gothic architecture for its complexity, creativity, innovation, and beauty.

2. Transition from Romanesque to Gothic:

Gothic architecture evolved from Romanesque architecture. Durham Cathedral is presented as a prime example of Romanesque architecture with its “thick walls, small windows, and rounded arches.” Key Romanesque features include:
Massive construction
Rounded arches
Barrel vaults and ribbed vaulting (early influence)
Large piers and columns
Small windows

3. Key Innovations of Gothic Architecture:

The emergence of Gothic style was enabled by specific architectural advancements. The talk highlights three primary innovations:
Pointed Arches: More efficient weight distribution allowed for taller and slender structures. “Pointed Arches, these distributed weight more efficiently than rounded arches, allowing for taller and more slender structures.”
Ribbed Vaults: A skeletal framework distributing the weight of the roof to pillars and columns. “Ribbed Vaults, a skeletal framework of ribs supporting the vaults helped in distributing the weight of the roof down to the pillars and columns.”
Flying Buttresses: External supports transferring the roof’s weight away from the walls, allowing for thinner walls and more windows. “Flying Buttresses were external supports that transferred the weight of the roof down the walls, enabling the walls to be thinner and filled with windows.”

4. Stages of Gothic Architecture (Primarily French):

The talk outlines the five main phases of Gothic architecture, using French examples:
Early Gothic (c. 1130-1200): Basilica of Saint-Denis, the choir completed in 1144. It is often cited as the first truly Gothic structure, along with Noyon Cathedral. Abbot Suger’s desire was to create a vertical space illuminated by light from heaven coloured by stained-glass windows.“His desire was to create a vertical space illuminated by the light from heaven coloured by massive stained glass windows.”
High Gothic (c. 1200-1300): Marked by increased verticality, larger windows, and elaborate decoration. Notre-Dame de Paris (started in 1163) and Chartres Cathedral (rebuilt starting in 1194) are prime examples.
Rayonnant Gothic (c. 1230-1350): Even more ornate and intricate, with a focus on rose windows. Sainte-Chapelle (consecrated in 1248) and Reims Cathedral are key examples. Emphasis on verticality, light, and extensive use of stained glass creates a jewel-like effect. “Light was regarded as flooding down from heaven, the light of God and the stained glass created a church flooded with multi-coloured light, a recreation of heaven on Earth.”
Flamboyant Gothic (c. 1350-1500): Characterised by flame-like window tracery and highly decorative stonework. Rouen Cathedral and Saint-Maclou Church in Rouen are exemplary.
Late Gothic (c. 1500-1600): Overlaps with Renaissance architecture. Beauvais Cathedral and Saint-Eustache Church in Paris are noted.

5. Key Architectural Terms:

The talk defines essential architectural terms to aid understanding:

West portal: Entrance to the nave.
Nave: Central part of the church.
Aisles: Run either side of the nave.
Cloister: Covered walkway.
Transepts: Arms of the cross-shaped church.
Chapter House: Meeting room.
Rood screen: Separates nave from chancel.
Chancel: Area near the altar for clergy and choir.
Ambulatory: Processional way for pilgrims.
Choir/Quire: Area between altar and nave for choir and clergy.
Altar: Table for communion.
Reredos: Ornamental screen behind the altar.
Apse: Semicircular or polygonal recess.
Retrochoir: Space behind the high altar.
Lady Chapel: Dedicated to the Virgin Mary.
Chantry chapel: Endowed for masses.

6. Spread and Variations of Gothic Architecture:

The Gothic style spread throughout Europe, with regional variations. Examples are given in:
Germany: Cologne Cathedral (begun in 1248, completed in 1880).
Spain: Cathedral of Seville (started in 1401). “Let us build a church so beautiful and so grand that those who see it finished will take us for mad.”

7. Development of Gothic Architecture in England:

The talk focuses on English Gothic architecture, highlighting the following periods and examples:
Early English Gothic (c. 1180-1275): Canterbury Cathedral (Trinity Chapel), Salisbury Cathedral. Simple, austere, with pointed arches, ribbed vaults, and lancet windows.
Decorated Gothic (c. 1275-1375): York Minster (East Window), Lincoln Cathedral, Ely Cathedral. Intricate window tracery and rich ornamentation.
Perpendicular Gothic (c. 1375-1540): King’s College Chapel, Cambridge, Westminster Abbey (Henry VII Chapel), Gloucester Cathedral, Norwich Cathedral, Winchester Cathedral. Emphasising verticality, elaborate vaulting, large windows, intricate tracery, and fan vaulting.
Late Gothic (c. 1540 and after): St. George’s Chapel, Windsor, Christ Church Cathedral, Oxford. Blends with Renaissance architecture.

8. The Legacy of Gothic Cathedrals:

The talk concludes by emphasizing the enduring significance of Gothic cathedrals. “They were the moon shot of the medieval period. They incorporated the latest technology and cost a fortune to construct.”
These structures represent a testament to the skill, workmanship, innovation, and artistic excellence of medieval craftsmen, and they serve as a lasting reminder of their cultural and technological achievements. They were centres of community life, art, and learning, symbolising the wealth and devotion of their cities.

This briefing document provides a comprehensive overview of the key concepts and information presented in Dr. Shafe’s talk on Gothic Cathedrals. The examples and timelines provided offer a valuable framework for understanding the evolution and significance of this influential architectural style.

09-02 Early Netherlandish Art

09-02 Early Netherlandish Art (to be recorded)

09-02 Notes on Early Netherlandish Art

09-02 Podcast on Early Netherlandish Art produced by Google NotebookLM

Early Netherlandish Art (c. 1420s – 1520s)

Source: Excerpts from “09-02 Early Netherlandish Art.pdf” by Dr. Laurence Shafe (www.shafe.uk)

Overview: This document provides a briefing on the main themes and important ideas presented in Dr. Shafe’s lecture notes on Early Netherlandish Art, also known as the ‘Flemish Primitives’. The notes cover the historical context of this artistic movement and discuss the key artists and some of their most significant works, highlighting stylistic innovations, symbolism, and the evolving status of artists during this period.

Key Themes and Important Ideas:

1. Historical and Geographical Context:

Timeline: The Early Netherlandish artists were active from approximately the 1420s to the 1520s. The term ‘primitive’ in this context is not pejorative but implies “naive in the sense of pure and gentle.”
Location: This artistic tradition flourished in the Burgundian, and later Habsburg, Netherlands, primarily in cities like Bruges, Ghent, and Brussels (present-day Belgium). The geographical area encompassed the southern Netherlands, Belgium, Luxembourg, and parts of northern France during the 15th century, known as the Low Countries or the Burgundian Netherlands.
Political Landscape: The region was consolidated under Philip the Good of Burgundy by 1433, and later passed to the Habsburg dynasty. Despite this, key cities retained significant autonomy.
Economic Significance: Flanders, particularly Ghent, Bruges, and Ypres, was a vibrant centre of artistic production. Bruges gradually lost its prominent position to Antwerp.
Evolving Status of Artists: For the first time, artists held a “very prominent position in society” during this period. This is further exemplified by van der Weyden’s self-portrait as St. Luke, which “elevated the status of artists by presenting an ideal image of an artist as a self-portrait, legitimizing and elevating the trade.”

2. Key Artists and Their Contributions:

The lecture notes highlight several key figures:

Robert Campin (c. 1375-1444): A pivotal figure based in Tournai, considered one of the earliest masters who moved beyond the International Gothic style, introducing “naturalism and realism” into his work. He was an innovator in oil painting, noted for his “detailed rendering of textures and light.” His renowned “Mérode Altarpiece” (c. 1427-1432) exemplifies the emerging style with its “meticulous attention to detail and rich symbolism.” The notes detail numerous symbolic elements within the altarpiece, such as the extinguished candle symbolising God’s incarnation and Joseph’s mousetrap alluding to Christ as the devil’s trap. Despite some scholarly doubts about its complete authorship, the altarpiece “stands as a testament to Campin’s artistic innovation.”
Jan van Eyck (c. 1390-1441): The leading artist in Bruges, known for his innovative techniques and naturalistic style. He was a court painter to Philip the Good and held a high social status. His most famous works include:
“The Ghent Altarpiece” (1432): A collaborative effort with his brother Hubert (who contributed the underdrawing and initial painting). The altarpiece is “rich in symbolism and theological meaning,” with the central panel depicting the Adoration of the Mystic Lamb. The inclusion of Adam and Eve emphasises humanity’s fall and the need for salvation. Van Eyck’s “mastery of oil painting techniques and his attention to detail… solidified his reputation.”
“The Arnolfini Portrait” (1434): An iconic work notable for its early use of oil paint and level of naturalism. The identity of the couple is debated, with current theories suggesting it might be Giovanni di Nicolao Arnolfini and a memorial portrait of his first wife. The portrait is “rich in symbolism,” with objects like the burning candle, oranges, and the mirror carrying specific meanings. Van Eyck’s “meticulous attention to detail is evident in his rendering of textures,” achieved through layering thin translucent oil glazes.
“Madonna of Chancellor Rolin” (c. 1435): This work showcases van Eyck’s “meticulous attention to detail and mastery of the oil painting technique.” Commissioned by Nicolas Rolin, the painting is “rich in symbolic elements” understood by contemporary viewers, contrasting Rolin’s opulence with the Virgin’s simplicity.
Rogier van der Weyden (c. 1399-1464): Worked in Brussels and was highly successful in his lifetime, even eclipsing van Eyck in popularity for a period. His key works include:
“The Descent from the Cross” (c. 1435): Commissioned by the Greater Guild of Crossbowmen in Leuven. It “played a crucial role in establishing his international reputation.” The painting is “rich in symbolism,” with the swooning Virgin mirroring Christ’s pose and the skull of Adam symbolising redemption. Van der Weyden’s “innovative composition, with its sculptural quality and emotional intensity, had a lasting impact on European art.”
“St. Luke Drawing the Virgin” (c. 1435-1440): Likely commissioned by the Brussels painters’ guild, reflecting the “growing status of artists.” Van der Weyden’s self-portrait as St. Luke demonstrates a sense of “attentiveness” akin to prayer. Its influence was significant, “elevated the status of artists,” and inspired many copies.
“Beaune Altarpiece” (c. 1445-1450): Commissioned by Nicolas Rolin and his wife for the Hospices de Beaune. This large polyptych served as a “spiritual guide for the hospital’s patients” and a funerary monument. The notes describe the imagery of the open and closed altarpiece, including the Last Judgement scene.
“Portrait of a Lady” (c. 1460): The only known independent portrait of a woman accepted as autograph by van der Weyden. It exemplifies the Gothic ideal of beauty and conveys a sense of “humility and introspection.”
Petrus Christus (c. 1410-1475/76): Active in Bruges, he became prominent after van Eyck’s death. His notable works include:
“Portrait of a Carthusian” (1446): Reflects the “growing emphasis on personal piety.” The painting features “remarkable naturalism” and subtle symbolism, including a trompe l’oeil fly that “may represent the transience of life or the presence of evil.”
“A Goldsmith in his Shop” (1449): Reflects the “thriving economic and artistic climate of 15th-century Bruges.” It may commemorate a specific transaction and is “rich in symbolism,” with a convex mirror reflecting a contrasting scene. It likely served as a “vocational piece” showcasing the goldsmith’s and painter’s skills.
“Portrait of a Young Woman” (c. 1470): Considered one of his masterpieces, showcasing his “advanced style in portraiture” with a realistic setting and a complex expression. Its commission reflects the “cosmopolitan nature of Bruges” with its international clientele.
Dieric Bouts (c. 1415-1475): Known for his “restrained yet deeply spiritual works” in Leuven, where he became the city’s official painter. His masterpiece is “The Last Supper” (1464-1468), a triptych commissioned for St. Peter’s Church in Leuven. It is “remarkable for its innovative depiction of the Eucharist” and its integration of Old and New Testament themes in the side panels, prefiguring the Eucharist. Bouts introduced “groundbreaking linear perspective” in this work.
Hans Memling (c. 1430-1494): A leading artist of the Bruges School. His renowned “The Last Judgment” (1467-1471) was commissioned by an Italian banker but was seized at sea and remains in Gdańsk. The triptych depicts the vision of Judgment Day and showcases Memling’s “mastery of symmetry and movement.”
Hugo van der Goes (c. 1440-1482): Known for his innovative style and influence. His masterpiece is “The Portinari Altarpiece” (1475-1476), a monumental triptych commissioned for Florence. It is renowned for its “intricate details, vibrant colors, and innovative composition” and significantly influenced Italian Renaissance artists.
Hieronymus Bosch (c. 1450-1516): While not discussed in detail in these excerpts beyond the mention of his “The Garden of Earthly Delights” (c. 1495-1505), he is noted as an important artist of the period. The notes briefly describe the imagery of the triptych and touch upon the complexities of its symbolism, suggesting that the “process of uncovering meaning rather than the meaning” itself might be a key purpose of the painting.

3. Stylistic Innovations:

Oil Painting: The Flemish Primitives were pioneers in the use and development of oil paint on panels. Artists like Campin and particularly Jan van Eyck and his brother Hubert took oil painting “to new levels of naturalism” and developed techniques like using glazes to create a luminous quality.
Naturalism and Realism: A key characteristic of this movement was the shift towards greater naturalism and realism in depicting figures, textures, and light, moving away from the more decorative International Gothic style.
Detailed Symbolism: Their works are often rich in intricate symbolism, where everyday objects carry spiritual or allegorical meanings that would have been understood by contemporary viewers.
Linear Perspective: Dieric Bouts is specifically noted for introducing “groundbreaking linear perspective” in “The Last Supper.”
Portraiture: The period saw an increasing demand for individual portraits, with artists like van der Weyden, Christus, and van Eyck developing sophisticated techniques for capturing likeness and character.

Conclusion:

The Early Netherlandish artists were pivotal figures in the history of Western art, responsible for significant stylistic innovations, particularly in oil painting and naturalism. Their works are characterized by meticulous detail, rich symbolism, and a profound engagement with religious and societal values of the 15th and early 16th centuries. The increasing prominence of artists in society during this period is also a notable development. The lecture notes provide a valuable introduction to this important artistic movement and its key masters.

09-03 Hieronymus Bosch

09-03 Notes on Hieronymus Bosch

Hieronymus Bosch (c. 1450-1516)

Introduction:

This briefing document summarises key aspects of the life, work, and artistic context of Hieronymus Bosch, based on the provided lecture notes. It highlights what is known (and not known) about the artist, common themes in his paintings, and his place within the Early Netherlandish art movement.

Key Themes and Ideas:

Limited Biographical Information: A significant challenge in understanding Bosch is the lack of concrete information about his life and the precise meaning of his works. As the source states, “The first thing to say is that we know very little of the artist, when he painted each work and their meaning. This has not prevented a great deal of research and even more speculation driven by the power, uniqueness and suggestiveness of his work.” The document underscores the speculative nature of much Bosch interpretation.
Moralistic Focus on Sin: While earlier interpretations of Bosch’s work sometimes attributed heretical or drug-induced meanings, modern art historians generally agree that his work reflects the “strict moral codes of the period and is concerned with sin and its consequences.” His paintings are seen as warnings against vice.
Bosch’s Fame and Patronage: Bosch was famous during his lifetime. Philip II of Spain was a major admirer and collector of his works. “He was famous in his lifetime and is known in Spain as El Bosco and Philip II (1527-1598) was a great admirer and bought many of his works.” As a result, the Prado Museum in Madrid houses many of his most important paintings. He was also a member of the Illustrious Brotherhood of Our Blessed Lady.
Artistic Style and Influences: Bosch is categorized as an Early Netherlandish painter, part of the Northern Renaissance. This style is a continuation of Late Gothic. He was a contemporary of other Flemish masters like Jan van Eyck and Rogier van der Weyden. His “pessimistic and fantastical style cast a wide influence on northern art of the 16th century,” with Pieter Bruegel the Elder being his most well known follower. He employed impasto, using thick layers of paint with visible brushstrokes, and painted using the typical pigments of the period such as azurite for blue skies.
Triptychs and Religious Themes: Bosch produced at least sixteen triptychs, of which eight are fully intact, and another five in fragments. Recurring themes include:
The Garden of Earthly Delights
The Temptation of St. Anthony
The Last Judgement
The Adoration of the Magi
The Haywain
The Seven Deadly Sins
Symbolism and Interpretation: Bosch’s paintings are dense with symbolism, much of which is now obscure. As the text mentions regarding the interpretation of The Garden of Earthly Delights, “A lot of Bosch’s symbolism was obvious to the viewer, or at least the educated viewer of the period but a lot has now been lost.” The document highlights the need to understand the cultural context of the time to decipher his imagery. This included a love of obscenities, hidden meanings and riddles, and the use of objects and sayings with specific meanings to his contemporary audience.
“The Garden of Earthly Delights”: His most famous painting, and the document dedicates a considerable portion to its description and interpretation. It highlights the left panel (Paradise), the central panel (a world consumed by pleasure and lust, specifically sex), and the right panel (Hell).
Use of Ugly Figures: Bosch, and other artists like Leonardo da Vinci, made use of “ugly figures to make a moral point…that morally good people, like Christ, are beautiful, and morally corrupt people are ugly. The belief at the time was that their faces convey their soul.”
The “Pedlar”: The figure of the pedlar in Bosch’s works represents “an exception to the fate of the poor,” suggesting the possibility of redemption through rejecting sin.
Impasto: Unlike the Netherlandish style of painting with transparent glazes which concealed the brushwork, “Bosch painted impasto which means using thick layers of paint with visible brushstrokes.”
The Ship of Fools: The Ship of Fools and Allegory of Intemperance represent the sins of gluttony and lust.

Examples of Symbolism Explained:

Broken Pots: Refer to girls who have lost their virginity but wish to conceal it to marry as virgins.
Eggs: Considered an aphrodisiac.
Cherries: Symbol of pride.
Strawberries: Symbol of over-indulgence.
Owl: Ambiguous symbol, can represent heresy, darkness, or even an aspect of Christ.
Toad on a woman’s chest: Represents sexual excess.

Notable Works Mentioned:

The Garden of Earthly Delights
The Temptation of St. Anthony (Lisbon, Nelson-Atkins, Prado versions)
The Haywain Triptych
The Last Judgement (Vienna)
The Seven Deadly Sins and the Four Last Things
The Cure of Folly
The Ship of Fools
Christ Crowned with Thorns
Christ Before Pilate