Medieval Artistic and Architectural Innovations

A significant new theme emerging in the 14th and 15th centuries was the *portrait*. These portraits could be of various kinds, often incorporated into or alongside religious themes, depicting figures such as praying individuals or donors within a painting.

Two notable exceptions: *Giotto* and *Jan van Eyck*, were instrumental in breaking the narrow confines of Gothic painting. They transcended their status as anonymous artisans, moving beyond the medieval world and evolving painting through new techniques.

The Evolution of Medieval Art

Giotto: A Pioneer of Italian Art

• Italian artist, worked primarily in Florence.
• Mastered the *buon fresco* technique.
• Focused on volumetric treatment and spatial arrangement of figures.
• Emphasized the humanization of religious themes.
• Depicted figures with a naturalistic approach, stressing the actual size and presence of the body.

Jan van Eyck: Master of Northern Renaissance

• Artist from the Low Countries, known for panel painting.
• Instrumental in popularizing oil painting.
• Innovations in Oil Painting:
  • Applying multiple layers of paint (glazing).
  • Advanced preparation of the painting medium.
• These techniques resulted in a splendid chromatic variety and pronounced richness of detail, a characteristic often associated with the Northern Gothic period.

The Rise of Gothic Architecture

From Romanesque to Gothic Grandeur

By the mid-12th century, Romanesque buildings across Europe began to be superseded by a new architectural style characterized by large, slender churches. These were the iconic Gothic cathedrals, primarily located in burgeoning cities. Their construction was often financed by the nobility and abbots, with the great Gothic building projects closely linked to the emerging bourgeois social class.

Origins and Divergent Philosophies

The Gothic constructive style emerged around 1140, coinciding with the construction of significant monasteries. This development was deeply influenced by monastic life and the prevailing thought of the era. However, two prominent figures, Abbot Suger and Abbot Bernard of Clairvaux, held divergent views on the ideal spirit and design of a building dedicated to God. Their differing perspectives on what each representation within churches should convey led to distinct constructive expressions.

Two Distinct Gothic Systems

This period saw the development of two different constructive systems:

• Cistercian Abbeys: Great monasteries governed by the Cistercian order, built following strict criteria of austerity and character.
• Gothic Cathedrals: In rural towns experiencing growth, a constructive system derived from the Saint-Denis plan was adopted. This plan was modified as technical advances allowed for greater vault height without compromising structural integrity.

The Cistercian Style: Austerity and Simplicity

Abbot Bernard of Clairvaux conceived of churches as places far removed from any type of ornamental building. He proposed a constructive style characterized by absolute austerity, advocating for the complete absence of sculpted capitals, which were abundant in Romanesque buildings. This style, marked by its constructive and decorative simplicity, became prevalent in all Cistercian monasteries.