E.H. Gombrich The Story of Art
#9 #10 #11
#9 The Church Militant (12c)
... Huge masses of stone were needed of these early 'tunnel'- vaults
... It was found that the best method of doint this was by spanning the arches or 'ribs' crosswise between the pillars and then filling in the triangular sections between them.
... 'rib-vault'...
As with forms so with colours. As the artists no longer felt obliged to study and imitate the real gradations of shades that occur in nature they were free to choose any colour they liked for their illustrations.
... It was this freedom from the need to imitate the natural world that was to enable them to convey the idea of the supernatural.
질문은 10과 동일.
#10 The Church Triumphant (13c)
...
It(Gothic style) was the discovery that the method of valuting a church by means of crosswise arches could be developed much more consistently and was true that pillars were sufficient to carry the arches of the vaulting between which the other stones were held as mere filling, then all the massive walls between the pillars were really superfluous. It wa possible to erect a kind of scaffolding of stone which held the whole building together. All that was needed were slim pillars and narrow 'ribs'. Anything in between could be left out without andger of the scaffolding collapsing. There was no need for heavy stone walls - instead one could put in large windows. It became the ideal of architecs to build chureches almost in the manner in which we build greenhouses. Only they had no still frames or iron girders - they had to make them of stone, and that needed a great amount of areful calculation. Provided, however, that the calculation was correct, it was possible to build a church of an entirely new kind; a building of stone and glass such as the world had never seen before. This is the leading idea of the Gothic cathedrals, which was devloped in northen France in the second half of the twelfth century.
... pointed arch...
... Buttresses ...
... high nave...
... flying buttresses', which complete the scaffolding of the Gothic vault...
...shafts...
...stone rods...
Gothic sculptors were no longer interested only in what they represented, but also in the problems of how to represent. Once more, as in the time of the great awakening in Greece, they began to look at nature, not so much to copy it as to learn from it how to make a figure look convincing. Yet there is a vast difference between Greek art and Gothic art, between the art of the temple and that of the cathedral. The Greek artists of the fifth centrury were mainly interested in how to build up the image of a beautiful body. To the Gothic artist all these methods and tricks were only a means to an end, which was to tell his sacred story more movilingly and more convincingly.
...
But the whole idea of sitting down in front of a person or an object and copying it was alien to them. ... on certain occasions, artists in the thirteenth century did in fact draw something from life.
...
We must not forget that the sculptor who aims at reproducing nature has an easier task than th painter who sets himself a similar aim.
...
but we remember that northen painting had given up all pretence of creating an illusion of reality. Its princiles of arrangement and of story-telling wre goverend by quite different aims.
...
Giotto had rediscovered the art of creating the illution of depth on a flat surface.
For Giotto this dicovery was not only a trick to be displayed for its own sake. It enabled him to change the whole conception of painting. Instead of using the methods of picture-writing he could create the illusion that the cacred story was happening before our very eyes.
..
1. 고딕 교회 내부 구조는 초기 예배당과 어떻게 다른가?
2. Romanesque style vs Gothic style?
3. 모자이크 vs Stained-glass 비교
4. 고딕 교회 구조물 및 명칭은?
5. 고딕 조각물 vs 로마 조각물 VS 비잔틴 조각물 차이는?
6. 고딕 그림의 특징은 (northern)?
7. 조토 그림의 특징은?
#11 Courtiers and burghers (14c)
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The interest had gradually shifted, from the best way of telling a sacred story as clearly and impressively as possible, to the methods of representing a piece of nature in the most faithful way.
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The public which looked at the artist's works began to judge them by the skill with which nature was portrayed, and by the wealth of atrractive details which the artist managed to bring into picture.
1. illusion(자연을 모방) vs symbolic (종교적)은 충돌하는 개념인가 어떻게 변화되어 왔는가?
