Late Gothic
Late Gothic (also commonly known as the German Spätgotikiem) is not the same as the late Gothic period in the other countries. Within the Third Reich we are dealing with the idea of \u200b\u200ba completely different solution space, a different approach to the volume of objects and their functions. For these reasons, the artists have abandoned bazylikowych solutions for indoor, which became popular mainly as municipal facilities (eg churches Farne). Typical late-Gothic church was as follows: first of all was the three-nave hall, whose interior was very uniform. Provide a highly undercut the arcades, which communicate with each other and side nave. Same as the pillars was reduced to a minimum, obtain They round shape, but most of the artists focused primarily on a batch of vaults. It then began to experiment with many custom solutions (not yet in existence since cross-ribbed vault was seen important element in maintaining high construction of the Gothic church), and the whole interior of the target was, like the earlier ideas of religious objects, faithful attention to the contemplation and mysticism. This may partly be associated with the movement Devotio moderna, which imposes a way to lay greater religious requirements. Thus, if these movements directly are related to such objects as the Psalter, or prayer offered for those less wealthy than it was during the Romanesque, it is also in the case of architecture can be traced to the relationship between the appearance of the temples and the contemporary concept of religiosity.
This does not mean that the buildings were like a strict Cistercian monastery churches. Lean was primarily agriculture, but was supported by an even richer sculpture, and architecture. Developed further tracery making them ever more fanciful forms, similarly shaped brackets, canopies and facade elements. In the case of North German brick architecture changed the colors of bricks - combined them in a variety of topics (such as the Vendian) so that it is better baked, the darker brick surrounded with a lighter color brick. Reflectors and plastered to be distinct from the rest of the wall. Finally, in the fourteenth and fifteenth century, gained popularity and starry ceiling crystal, as shown in the case of Polish, among others in Gdansk and Pelplin.
this period is linked to the most important family of architects Gothic. Parlerowie bound mainly to the Czech Republic, but Peter only worked there since 1353, previously his father, Heinrich made a sketch indoor St. Cross in Schwäbisch Gmünd - a town known more as the most important center of German goldsmiths. It was there that was built around 1310, the three-nave Gothic hall, which added a choir with Heinrich defeat and chapels. The activities of successive generations Parlerów but not limited to the erection of the cathedral in Prague, but they also built the cathedral in Ulm, Freiburg im Breisgau, and in Strasbourg. This shows how mobile were workshop of the late Middle Ages and how quickly remote regions far benefited from the latest architectural solutions. This can be seen for example in the case of the cathedral in Milan, where the start of work on the gothic building at the end of the fourteenth century meant that advised the architects and surveyors from all over Europe, including Germany, the current site.
the most important objects are the least of late Gothic churches in Erfurt, Pirna, Halle (first pic in this post) and Annaberg. It is this period is also related to H. Brunsberg, although in his case, a broad period of activity poses a problem if all przypisywane mu obiekty rzeczywiście są jego autorstwa. Miał on żyć od ok. 1350 r. do 1428 r. i kształcić się na architekturze krzyżackiej. Wiadomo, że między 1400 a 1428 r. przebywał w Szczecinie, ale raczej nie na stałe, skoro od 1401 r. wznosił kościół św. Katarzyny w Brandenburgu, a także kościół halowy w Chojnie. Przypisuje mu się ponadto udział w budowie największego w tym czasie obiektu w Szczecinie, a więc kościoła św. Jakuba (obecnej katedry), którą zaczęto budować ok. 1360 r. (przez pewien czas istniała teza, iż Mistrz Jakub, który zaczął wznosić obiekt był nauczycielem Brunsberg). Also, St. Mary's church in Stargard and a church in Konigsberg might be in some part of its authorship. There is also the thesis that, in Poznan, with its activity would involve the Virgin church vis-a-vis the Cathedral. Peter and Paul. Interestingly, the best way seems to give Brunsberg facade of City Hall in Tangermünde, although it was founded around 1430, so probably only on the basis of master plans.
Gothic sculpture in the Reich
Also in the case of sculpture the leading source of inspiration was France. Strasbourg Cathedral is the best example of a facility located midway between the Ile-de-France and the Rhineland arcybiskupstwami. To the sculpture of Chartres there alluded team sculptures around 1220-1235 was, especially in the scene of the coronation of Mary, and two figures showing the veiled eyes having Synagogue (ie Judaism, which does not recognize the Savior), and the church triumphant. Another noteworthy place is the Bamberg "Bamberskim Rider" and the group of the Visitation. These sculptures are in turn refer to the cathedral in Reims and probably their collective that is where the author worked before coming to the Bavarian city. Characters are developed, however, severely, their forms are more massive, though, and so there are unusual presentation.
One of the most interesting sculptural cycles formed in Bamberg, where he was placed so. Bamberg Rider - majestic equestrian statue, which in the later literature had become a national symbol of the greatness of Germany during the Middle Ages. A similar equestrian statue (Magdeburg Rider) was located in the urban market. However, a sculpture of French inspiration manifested itself primarily in the work of the Master Naumburskiego acting in the first half. Unknown to the thirteenth century the name of the artist to work in Mainz and Naumburg, with the cathedral in that other city founders created the twelve figures in the choir and the western themed decorated lectorium passion. You probably did it before he came into contact with those at Reims, Chartres and Paris, as demonstrated not only the formal analogies, but also portraying the form of naturalism. They are individualized facial features, but the impression of a highly spirited and full of nobility. In the case of lectorium refocused attention on the artist's everyday life elements of the Middle Ages had placed in the biblical scenes, as even in the "Last Supper". Surprising is also the treatment of the Jews, who heads have specific caps reminiscent of the battle.
At the end of the thirteenth century styling has changed jobs. The characters became more elongated, idealized, and their folds arranged to be very flexible. Only in the fourteenth century on a larger scale will be selected drapery, giving the impression of a series of broken lines. This period also marked by a change in the iconography. Became popular portable devotional objects such as altars and crucifixes, relating to traffic religious renewal "Devotio moderna." Increasingly popular, there were also present passion, and human figures in the care devoted to the saint or the Virgin Mary. In the case of the latter in Italy, Germany and Switzerland formed the so-called. Madonna Protecting Cloak concept, called the Mater Misericordia (Mother of Mercy) or Schutzmantelmadonną. It depicted the different communities, especially the founders, and praying to Mary przykrywanych jacket. In this way, entrusted to her care and promoted his piety.
direction realistic sculpture Gothic Reich should be connected with Parlerów family, especially Peter Parler, who made gravestones Přemyslid in st. Vitus in Prague and a series of portrait busts in 1921, one of which is considered his self-portrait. Designed to work then (so-called soft style), derives its name from how they developed as a robe. That's when the concept appears Beautiful Madonnas, and hence very idealized form of the Virgin Mary, or even painting her body shape and facial features and a kind of lyricism portraying individuals in the case of sculptures wielofiguralnych. In the fifteenth century convention is changing, and artists more attention direct the form of garments. You can see it very well in the case of Veit Stoss and Tilman Riemenschneider - the two best sculptors of this period in Germany. Tilman made use of graphical models, including Martin Schongauer and Albrecht Dürer and based on composing many of his works. He paid particular attention to the individualization of facial features, hand gestures and attitudes of characters. Draws attention to the fact that many of his works was not Polychrome, and only emphasized the plasticity, through the appropriate spatiality chiaroscuro modeling. In the case of the altars and altars castellated walls meant that the light penetrated into the interior work (through the window, closing the sanctuary), and sculptures in an unusual way this could affect the audience differently than other artists.
dozen years older than Riemenschneider, Veit Stoss, became famous in Poland for the implementation of the altar in the church of St. Mary's in Krakow, and Casimir's tomb baldachimowego. His other works sepulchral should mention Bishop Peter's tomb and tombstone Bnin Zbigniew Oleśnicki in Gniezno. Upon his return to Nuremberg was embroiled in an affair fałszerską, but did not prevent him greatly to continue his artistic career (although he was constantly victimized). Veit Stoss style is based primarily on the emphasis on spiritual values \u200b\u200bcreated by its work. Differentiation as to a lesser extent than in the case Riemenschneider based on customization features, and more on the appropriate gestures. Interestingly, the art was not limited solely to the topic of religion (which he probably knew a lot better than many of his contemporary artists), but also able to carry out work on behalf of the bourgeoisie.
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