➿European Art and Civilization Before 1400 Unit 14 – Late Medieval Art: International Gothic

Key Characteristics of International Gothic

• Elegant, elongated figures with small heads, slender limbs, and flowing draperies
• Highly detailed, intricate, and decorative style emphasizing pattern, texture, and surface ornament
• Idealized beauty and courtly refinement reflecting the tastes of aristocratic patrons
• Increased naturalism in the depiction of faces, gestures, and settings while retaining stylization
• Rich, vibrant colors and extensive use of gold leaf lending a sumptuous, jewel-like quality to artworks
• Complex, crowded compositions with figures often placed in architectural settings or lush landscapes
• Blending of religious and secular themes, with a growing interest in mythological and allegorical subjects

Historical Context and Origins

• Emerged in the late 14th century, a period of political instability, social upheaval, and the aftermath of the Black Death
• Developed in the courts of Europe, particularly France, Burgundy, and Bohemia, as a response to the desire for luxury, refinement, and escapism
• Influenced by the courtly love tradition, chivalric culture, and the increasing internationalization of artistic styles
• Synthesized elements from various regional styles, including French, Italian, and Netherlandish art
• Facilitated by the mobility of artists, the exchange of ideas through diplomatic gifts, and the circulation of illuminated manuscripts
• Coincided with the rise of the Burgundian dukes as major patrons and the increasing importance of the Valois court in France

Major Artists and Their Works

• Claus Sluter (c. 1340-1405/06): Sculpted the Well of Moses and portal figures for the Chartreuse de Champmol in Dijon, known for his expressive, naturalistic style
• Limbourg Brothers (active c. 1385-1416): Illuminated the Très Riches Heures du Duc de Berry, a masterpiece of International Gothic manuscript painting
  • Paul, Jean, and Herman de Limbourg were Dutch miniature painters who worked for Jean, Duke of Berry
• Gentile da Fabriano (c. 1370-1427): Painted the Adoration of the Magi altarpiece for the Strozzi family in Florence, showcasing the opulent, decorative qualities of the style
• Lorenzo Monaco (c. 1370-1425): Florentine painter known for his graceful, elongated figures and luminous colors, as seen in the Coronation of the Virgin altarpiece
• Jacquemart de Hesdin (active c. 1384-1410): Illuminated the Petites Heures of Jean, Duke of Berry, demonstrating the refinement and elegance of the International Gothic style

Patrons and Patronage

• Aristocratic patrons, particularly the courts of France, Burgundy, and Bohemia, played a crucial role in the development and spread of International Gothic
• Jean, Duke of Berry (1340-1416), a renowned art collector and bibliophile, commissioned numerous illuminated manuscripts and other works of art
• Philip the Bold, Duke of Burgundy (1342-1404), and his successors were major patrons, establishing the Burgundian court as a center of artistic production
• The Valois kings of France, especially Charles V and Charles VI, supported the arts and attracted international artists to their court
• Wealthy merchants and banking families, such as the Strozzi in Florence, also commissioned works in the International Gothic style
• The Catholic Church remained an important patron, commissioning altarpieces, frescoes, and other religious artworks

Techniques and Materials

• Illuminated manuscripts: Created using precious materials like gold leaf, ultramarine, and vermilion on vellum or parchment
  • Techniques included delicate linework, intricate patterns, and detailed marginalia
• Panel painting: Executed on wooden panels using egg tempera, which allowed for rich, luminous colors and fine details
  • Gold leaf was often used for backgrounds, halos, and decorative elements
• Fresco: Pigments applied to wet plaster, used for wall paintings in churches, chapels, and palaces
• Sculpture: Carved from stone (limestone, marble) or wood, with an emphasis on flowing draperies, expressive faces, and naturalistic details
  • Polychromy (painted decoration) and gilding were often applied to enhance the visual impact
• Tapestry: Woven from wool, silk, and gold or silver thread, used to decorate the walls of aristocratic residences and convey complex narratives
• Metalwork: Created using techniques like enameling, engraving, and embossing, for objects such as reliquaries, chalices, and processional crosses

Themes and Iconography

• Religious themes remained prominent, with a focus on the life of Christ, the Virgin Mary, and saints
  • Passion scenes, such as the Crucifixion and Lamentation, were popular subjects
• Secular themes gained importance, reflecting the interests and aspirations of courtly patrons
  • Courtly love, chivalry, and the ideals of knighthood were frequently depicted
• Allegorical and mythological subjects, such as the Labors of the Months and the Triumph of Love, became more common
• Portraiture emerged as a distinct genre, with an emphasis on individualized features and symbolic attributes
• Nature and landscape played an increasingly important role, often serving as a backdrop for religious or secular scenes
  • Gardens, forests, and mountains were depicted with greater naturalism and attention to detail
• Heraldry and symbolic motifs, such as coats of arms, badges, and emblems, were used to assert the identity and status of patrons

Regional Variations

• French: Characterized by a strong emphasis on elegance, refinement, and courtly ideals, as exemplified by the Limbourg Brothers and the artists of the Valois court
• Burgundian: Distinguished by a robust, sculptural quality and a keen interest in naturalistic detail, as seen in the works of Claus Sluter and his followers
• Italian: Blended International Gothic elements with a growing interest in classical forms, perspective, and humanism, as evident in the works of Gentile da Fabriano and Lorenzo Monaco
• Bohemian: Influenced by the patronage of the Holy Roman Emperors and the court of Prague, with a distinctive blend of Eastern and Western European elements
• English: Characterized by a more restrained, linear style and a focus on religious subjects, as seen in the works of the Westminster Retable Master
• Spanish: Incorporated Islamic and Mudéjar influences, with a strong emphasis on decorative patterns and vibrant colors

Legacy and Influence

• International Gothic laid the foundation for the development of the Northern Renaissance, particularly in the Netherlands and Germany
  • Artists such as Jan van Eyck and Rogier van der Weyden built upon the style's attention to detail, naturalism, and rich color
• The style's emphasis on elegance, refinement, and courtly ideals influenced the art and culture of the Italian Renaissance
  • Artists like Pisanello and Domenico Ghirlandaio incorporated International Gothic elements into their works
• The circulation of illuminated manuscripts and the mobility of artists contributed to the dissemination of the style throughout Europe
• International Gothic had a lasting impact on the decorative arts, including tapestry, metalwork, and furniture design
• The style's idealization of beauty, emphasis on detail, and interest in secular themes paved the way for the humanistic art of the Renaissance
• Elements of International Gothic, such as elongated figures, flowing draperies, and intricate ornamentation, continued to influence European art well into the 16th century