1 00:00:00,880 --> 00:00:15,380 Hi everyone, in this video we are going to see gothic sculpture and painting and we are going to compare this kind of art with the romanesque one that we saw in the previous unit. 2 00:00:15,380 --> 00:00:30,379 So this is the point 4 of our unit 8 and we are going to explain a little bit the main characteristics of these artistic expressions, sculpture and painting. 3 00:00:30,379 --> 00:00:37,340 First of all, with the sculpture we are going to start with this, we have a more realistic 4 00:00:37,340 --> 00:00:41,840 sculpture instead of the Romanesque one. 5 00:00:41,840 --> 00:00:49,179 Here in the three pictures that we have, we can realize that the perfection of the figures 6 00:00:49,179 --> 00:00:52,679 are better than in Romanesque art. 7 00:00:52,679 --> 00:01:02,820 So here we have half a shade, or a portrait, or a portal, a portada, and he's a pantocrator. 8 00:01:02,820 --> 00:01:11,420 Here we have the Christian Majesty in the archivals with the different figures. 9 00:01:11,420 --> 00:01:17,480 Here in the gems, also Las Jambas, we have more sculpture. 10 00:01:17,480 --> 00:01:25,079 in the mullon or parteluz another one so this is very similar to romanesque but how can we know 11 00:01:25,079 --> 00:01:34,760 this fasciate is gothic because of the type of art that we have if we focus on this part 12 00:01:35,640 --> 00:01:44,439 this one here we have a point art un arco apuntado u ojival si recordais vale o target 13 00:01:44,439 --> 00:01:52,299 So, here we have the main characteristic of Gothic architecture, the kind of arching, 14 00:01:52,299 --> 00:01:57,560 so the rest of the figures adapt to this framework. 15 00:01:57,560 --> 00:02:07,140 But you have to think that the figures are not every part of the figure in the wall, 16 00:02:07,140 --> 00:02:13,379 so they are more realistic because they are more independent from the framework. 17 00:02:13,379 --> 00:02:17,979 Here we have a space between the figures and the wall. 18 00:02:17,979 --> 00:02:22,439 And in the Romanesque sculpture we didn't have it, if you remember. 19 00:02:22,439 --> 00:02:25,120 So here we have the types of sculpture. 20 00:02:25,120 --> 00:02:31,879 We are going to find sculpture in the façades, here we have one, and in the cloisters, in 21 00:02:31,879 --> 00:02:36,240 the monasteries, los claustros de los monasterios. 22 00:02:36,240 --> 00:02:38,620 And also we have the altar piece. 23 00:02:38,620 --> 00:02:50,219 we have in spanish this is retablo okay vale se escribe asi retablo altar piece and it's a 24 00:02:51,580 --> 00:02:59,020 sculpture made in wood it's a madera and located in the altars or the ups of the buildings of the 25 00:02:59,020 --> 00:03:07,180 churches okay and also we have sepulchres is the sepulchros or tumbas that showing us the dead 26 00:03:07,180 --> 00:03:15,259 people that are inside in a special way. Here we have La tumba del doncel de Sigüenza and he is 27 00:03:15,259 --> 00:03:25,419 reading a book as he is alive but he is dead. This is a way to express the importance or the 28 00:03:25,419 --> 00:03:33,819 personality of the character that is buried there while the sculpture. They use the sculpture to 29 00:03:33,819 --> 00:03:42,080 to show the people some characteristics of the personality of these people. 30 00:03:42,080 --> 00:03:53,599 So we can find this kind of sculpture in portraits or facades, altarpieces and sepulchres, tombs. 31 00:03:53,599 --> 00:03:59,840 Here we have with the topic, that means the motifs of the thems that are shown or created 32 00:03:59,840 --> 00:04:01,120 in the sculpture. 33 00:04:01,120 --> 00:04:08,259 We have religious themes, as we did or we had in the Romanesque, the Virgin Mary, the 34 00:04:08,259 --> 00:04:11,939 saints, Jesus Christ, God, whatever. 35 00:04:12,460 --> 00:04:15,860 And also we have portraits of kings and nobles. 36 00:04:15,860 --> 00:04:24,279 You have to remember that the Gothic art is a urban art and in the cities are living kings 37 00:04:24,279 --> 00:04:27,680 and nobles and also people from the bourgeoisie. 38 00:04:27,680 --> 00:04:36,680 So they paid for being represented in the churches or in the different buildings that we have in the Gothic art. 39 00:04:36,680 --> 00:04:44,680 Ok, so now we are going to see each characteristic starting with the freestanding sculpture. 40 00:04:44,680 --> 00:04:53,680 This freestanding means that the figures are less in the walls, that is, they are less in the wall and stand out more. 41 00:04:53,680 --> 00:04:59,680 If you notice, in these four figures that we have here, the back is only supported on the wall. 42 00:04:59,680 --> 00:05:08,680 Everything else, as you can see, has relief. Look at the shadows. The size of the shadow is because there is a lot of relief. 43 00:05:08,680 --> 00:05:14,680 They do not need to be adapted to the frame, as we had in the Romanesque, but they are simply supported on the walls. 44 00:05:14,680 --> 00:05:21,680 This is what is referred to as free-standing sculptures, that is, sculptures that are increasingly independent of the frame. 45 00:05:21,680 --> 00:05:29,839 marco also they are less erratic that means they show movement why because we can see here well 46 00:05:30,560 --> 00:05:43,199 she's with uh his her hand is missing but she has the arm blend and and also this figure and this 47 00:05:43,199 --> 00:05:52,079 one and also we have little curves curvas in the clothes and in the legs so they are less 48 00:05:52,079 --> 00:05:59,600 erratic they show movement for this reason they are less rigid so menos rígidas son más naturales 49 00:05:59,600 --> 00:06:03,920 vale si os dais cuenta en el ángel que tenemos aquí esta figura del ángel es una de las más 50 00:06:03,920 --> 00:06:11,120 conocidas de la catedral de reignes se está cogiendo la ropa tiene la muñeca curvada tiene 51 00:06:11,120 --> 00:06:17,120 the shoulders are curved, the head is inclined, it is showing a naturalness that we did not have in the Romanesque. 52 00:06:17,120 --> 00:06:28,120 Therefore, Gothic sculptures are more perfect, they are more similar to reality, they care more about beauty and style than what they did in Romanesque sculptures. 53 00:06:28,120 --> 00:06:34,120 So now we are going to see each of the characteristics highlighted in these images. 54 00:06:34,120 --> 00:06:44,500 we have the faces express feelings that means here we have four people and each 55 00:06:44,500 --> 00:06:51,879 one show a different feeling the first one the angel that we have here well 56 00:06:51,879 --> 00:06:58,000 it's not the same angel but it's very similar he is smiling he is happy so he 57 00:06:58,000 --> 00:07:05,800 expressing a feeling. The second person that we have here she's smiling not in 58 00:07:05,800 --> 00:07:11,800 the same way that the angel but she's happy, she's quiet, she's calm but 59 00:07:11,800 --> 00:07:17,480 she's showing us a feeling and the rest of the two people is the same. In the 60 00:07:17,480 --> 00:07:23,720 Romanesque we didn't have feelings in the sculptures. The sculptures were without 61 00:07:23,720 --> 00:07:29,379 emotions because the important thing were the message. Here we have the 62 00:07:29,379 --> 00:07:36,240 message and the beauty of the sculpture. Also here we have the drapery that means 63 00:07:36,240 --> 00:07:43,319 clothes, los ropajes. La palabra ropajes es esa idea, the drapery. It gave shape to the 64 00:07:43,319 --> 00:07:50,060 body. Thanks to the drapery of the clothes we can see the forms or the 65 00:07:50,060 --> 00:07:57,680 shapes of these of these different bodies okay here we have the knee okay 66 00:07:57,680 --> 00:08:05,040 and here also we have the knee and thanks to the clothes we can show or see 67 00:08:05,040 --> 00:08:11,620 sorry the hip of the women or the woman sorry and also here we have thanks to 68 00:08:11,620 --> 00:08:17,000 the clothes we can follow the movement of the figures you have to think always 69 00:08:17,000 --> 00:08:23,319 in the Pantocrator, in the Romanesque. Their clothes are unnatural, are rigid, 70 00:08:23,319 --> 00:08:30,879 are not showing us any movement. Here we have movement and reality and a natural 71 00:08:30,879 --> 00:08:41,299 thing. Here we have the fur clothes. This is the idea that I want to 72 00:08:41,299 --> 00:08:49,299 show you compare both pictures okay the first one this one is from gothic and this is from romanesque 73 00:08:49,940 --> 00:08:57,860 can you see the differences between the clothes i think it's obvious here we have more realistic 74 00:08:57,860 --> 00:09:03,940 more relief i'm a relieve y aqui estan como mas pegadas es decir estan tienen 75 00:09:03,940 --> 00:09:09,379 relieve es decir tienen curvas tienen arrugas las figuras las ropas pero no son naturales 76 00:09:09,379 --> 00:09:30,779 Estos pliegues sí son naturales, estos no, porque están como pegados, como te coges una imagen y te pegas, como si te pegaras a un cristal, la ropa se espachurra contra el cristal, pues la escultura románica representa los ropajes de esta manera, mientras que la gótica los representa más realistas, ¿vale? Eso es lo que quiero que veáis. 77 00:09:30,779 --> 00:09:39,200 also we have the sculptures were not isolated that means they create scenes and they interact 78 00:09:39,200 --> 00:09:43,700 with each other es decir tienen un diálogo tienen una conversación entre las esculturas 79 00:09:43,700 --> 00:09:49,879 no están solas no muestran un mensaje aleatorio muestran un mensaje realista incluso hablan entre 80 00:09:49,879 --> 00:09:54,799 ellas en el lenguaje metafórico alguien que paga por aparecer en una iglesia por la interés está 81 00:09:54,799 --> 00:09:56,580 acerca de la virgen o de un santo 82 00:09:56,580 --> 00:09:58,659 por lo tanto va a hacer como que interactúa 83 00:09:58,659 --> 00:10:00,860 con esa persona sagrada 84 00:10:00,860 --> 00:10:02,799 ¿vale? eso es a lo que se refiere 85 00:10:02,799 --> 00:10:04,740 aquí, que las figuras 86 00:10:04,740 --> 00:10:06,879 tienen realismo, es como si una foto 87 00:10:06,879 --> 00:10:08,639 como te pillan hablando, pues te 88 00:10:08,639 --> 00:10:09,440 representan así 89 00:10:09,440 --> 00:10:12,620 and the last part, the S curve 90 00:10:12,620 --> 00:10:14,679 es decir, la curva de la S of a body 91 00:10:14,679 --> 00:10:16,639 that give us movement 92 00:10:16,639 --> 00:10:18,279 I have to choose the 93 00:10:18,279 --> 00:10:20,299 women, I'm not going, I'm not sure 94 00:10:20,299 --> 00:10:22,419 what, in part 95 00:10:22,419 --> 00:10:24,120 if we start here 96 00:10:24,120 --> 00:10:36,139 Here we make an S. I'm going to choose another color to be easier for you to watch or to 97 00:10:36,139 --> 00:10:40,230 see it. 98 00:10:40,230 --> 00:10:50,450 This is one S and also here we have another one. 99 00:10:50,450 --> 00:11:02,059 we start from this, okay? This is like the shape of the hip, la cadera, ¿vale? Esa S, 100 00:11:02,379 --> 00:11:10,860 perdona, esa S es muy propia de época clásica, es lo que en, lo diré, en escultura griega 101 00:11:10,860 --> 00:11:15,379 se llama la curva praxiteliana, porque el que la empezó a hacer fue Praxiteles, ¿vale? 102 00:11:15,419 --> 00:11:20,419 Si os fijáis en la Venus de Milo, o en cualquier escultura griega que tenga ese contraposto, 103 00:11:20,419 --> 00:11:26,980 that counterpoint of the knee with the opposite arm that is the praxitelian curve and that gives us 104 00:11:26,980 --> 00:11:35,240 realism and gives us movement in the figure that is now being done from the gothic before 105 00:11:35,240 --> 00:11:39,860 we did not have it because the romanesque were totally still the figures did not show realism 106 00:11:39,860 --> 00:11:45,740 did not show naturalness did not show movement is worth therefore the gothic sculpture is going to be 107 00:11:45,740 --> 00:11:50,539 all the opposite to the Romanesque, what they both maintain is that they are docked to the wall but 108 00:11:50,539 --> 00:11:57,620 the Gothic sculpture is already more exempt, that is, more and more of the wall is released and that it represents 109 00:11:57,620 --> 00:12:04,399 religious themes but for the rest they are practically the opposite and I return to this previous one, compare 110 00:12:04,399 --> 00:12:10,639 always or keep in mind the two, that of Reims, totally natural, obviously it could be more 111 00:12:10,639 --> 00:12:15,019 perfect, yes, but it is much more natural than the one below that is Romanesque, that is what I want 112 00:12:15,019 --> 00:12:18,460 en lo que quiero llamaros la atención 113 00:12:18,460 --> 00:12:19,419 vale 114 00:12:19,419 --> 00:12:22,500 now we start with the painting 115 00:12:22,500 --> 00:12:24,059 and here we have 116 00:12:24,059 --> 00:12:25,340 three different 117 00:12:25,340 --> 00:12:28,179 surfaces to show the painting 118 00:12:28,179 --> 00:12:29,559 diferentes superficies 119 00:12:29,559 --> 00:12:31,639 the first one is the stained glass windows 120 00:12:31,639 --> 00:12:33,120 es decir, las vidrieras 121 00:12:33,120 --> 00:12:35,580 and here we have some examples 122 00:12:35,580 --> 00:12:36,659 these ones 123 00:12:36,659 --> 00:12:39,220 perdón, me he utilizado otro color 124 00:12:39,220 --> 00:12:40,820 these ones are from 125 00:12:40,820 --> 00:12:43,039 I'm showing us different 126 00:12:43,039 --> 00:12:44,720 scenes for the bible 127 00:12:44,720 --> 00:12:47,600 and the kings 128 00:12:47,600 --> 00:12:48,779 and the Virgin Mary 129 00:12:48,779 --> 00:12:49,639 here 130 00:12:49,639 --> 00:12:51,980 this is 131 00:12:51,980 --> 00:12:55,279 San Cristobal 132 00:12:55,279 --> 00:12:57,419 San Cristobal is the one who helps you cross the river 133 00:12:57,419 --> 00:12:59,799 and he is always represented 134 00:12:59,799 --> 00:13:01,639 with Jesus 135 00:13:01,639 --> 00:13:02,220 on his shoulders 136 00:13:02,220 --> 00:13:05,559 here we have the original scene 137 00:13:05,559 --> 00:13:06,700 or Adán and Eve 138 00:13:06,700 --> 00:13:08,779 with the snake 139 00:13:08,779 --> 00:13:10,879 and the tree 140 00:13:10,879 --> 00:13:13,659 and the forbidden fruit 141 00:13:13,659 --> 00:13:23,659 And here we have a normal scene for the medieval times. Knights with their horses and it's an army. 142 00:13:23,659 --> 00:13:30,659 But here we can see the perfection that this kind of painting has. 143 00:13:30,659 --> 00:13:35,659 It's crystal, it's glass, painting glass. 144 00:13:35,659 --> 00:13:38,659 You paint a piece of glass and you stick it. 145 00:13:38,659 --> 00:13:47,659 Each piece of glass is joined by areas of copper. All these black lines are molten copper, sorry, bronze. 146 00:13:47,659 --> 00:13:53,659 No, lead. I was messing with myself. It's lead, okay? That's why it's black. It's molten lead. 147 00:13:53,659 --> 00:13:57,659 So they have a mold, they place the crystals and then they put the molten lead in it. 148 00:13:57,659 --> 00:14:02,659 It's very complicated to make a glass window and keep you in a cathedral for so long. 149 00:14:02,659 --> 00:14:13,480 There are many of the current cathedrals that the windows are not original because of wars, storms, structural failures, deterioration in general. 150 00:14:13,899 --> 00:14:16,039 Many windows have been lost, but there are others that are preserved. 151 00:14:16,039 --> 00:14:22,480 But it is so that you can see how a window is like this up close, because normally we are always used to seeing them from afar. 152 00:14:23,659 --> 00:14:28,580 Also, here we have the panel painting, as were the retables, this is an altar piece. 153 00:14:28,580 --> 00:14:39,220 and here we have a huge structure a huge sculpture also made in wood and in gold 154 00:14:39,220 --> 00:14:56,240 in the gothic art is very normal they have these panel paintings why because if we have 155 00:14:56,240 --> 00:15:00,240 If we have higher buildings, brightened buildings, we... 156 00:15:00,240 --> 00:15:18,460 Sorry, one moment, que empezamos con los aplausos y no se me va a oír, si no. 157 00:15:19,120 --> 00:15:22,080 Vale, chicos, entonces, tenemos aquí panel paintings. 158 00:15:22,740 --> 00:15:24,039 Ok, ya me he encontrado. 159 00:15:24,220 --> 00:15:30,379 If we have higher buildings without walls, es decir, muros más altos, casi sin... 160 00:15:30,379 --> 00:15:33,740 O sea, edificios más altos casi sin muro, no podemos pintar al fresco, 161 00:15:33,940 --> 00:15:35,679 porque no tenemos muro en el que pintar. 162 00:15:35,679 --> 00:15:42,360 So, what do we do? We build retables in wood, showing the scenes that we would put in the fresco. 163 00:15:43,059 --> 00:15:44,580 That is what we have here. 164 00:15:45,620 --> 00:15:48,759 So, these are two examples of panel painting. 165 00:15:49,159 --> 00:15:52,059 Later we are going to focus a little bit on this technique. 166 00:15:52,620 --> 00:15:56,460 And the last one, the miniature, we already seen this in the Romanesque. 167 00:15:56,940 --> 00:16:02,720 It's miniature because of the little size, but also because of the minio, or minium, 168 00:16:02,720 --> 00:16:07,460 which is like that reddish pigment that gives it the color, okay, well, here we have these of the cantigas 169 00:16:07,460 --> 00:16:14,100 of Santa María del Rey Alfonso X, just like here, okay, they are showing us scenes of everyday life 170 00:16:14,100 --> 00:16:21,200 and this is a codice, it is like a book called the good hours of the duke of berri, which is 171 00:16:21,200 --> 00:16:25,799 an agricultural calendar, it is showing us the 12 months of the year from the nobility point of view, 172 00:16:25,799 --> 00:16:30,720 okay, that is why it is always seen in the nobles, but it is also showing us the feud, each of the 173 00:16:30,720 --> 00:16:35,720 It's an example of miniature painting that you can see. 174 00:16:35,720 --> 00:16:46,720 Related to the characteristics of the painting, here we have a picture or a painting that you have from your book. 175 00:16:46,720 --> 00:16:54,720 And it's from the 14th century, it's from Giotto, he's an Italian artist. 176 00:16:54,720 --> 00:17:01,759 artist okay and we are going to use this picture to show or to see the different characteristics 177 00:17:01,759 --> 00:17:09,359 as we have in or as we had in this culture we have more realism and more naturalism in the 178 00:17:09,359 --> 00:17:15,359 painting is the same how can we get the more naturalism in the painting with the bodies the 179 00:17:15,359 --> 00:17:19,599 face and the landscapes if you remember the Pantocrator of San Clemente del Taúl 180 00:17:19,599 --> 00:17:31,079 this picture didn't have a landscape here we have a landscape is so bad preserved but this is the 181 00:17:31,079 --> 00:17:35,940 sky okay and over there we have different 182 00:17:35,940 --> 00:17:45,460 lights that showing us the different points of the sun here we have the ground okay in this time 183 00:17:45,460 --> 00:17:50,660 is normal to show the landscape later i'm going to show you another examples to see the landscapes 184 00:17:50,660 --> 00:17:59,759 but also the faces here we have the faces this man is so angry don't you see jesus is calm is 185 00:17:59,759 --> 00:18:05,140 quiet because judas is going to kiss her his kiss his yeah kiss him 186 00:18:15,460 --> 00:18:41,579 I want you to see how the faces show us feelings, they show us where they are angry, these are tense, Jesus is calm, in the Pantocrator we did not have any kind of facial expression, and apart from the bodies, look at the curves that we have here, the clothes also give us that sensation of movement, the shoulder, the stretched arm, I want you to see that idea, the same thing that we had in the sculpture, we are going to have it in the painting, 187 00:18:41,579 --> 00:18:49,720 Therefore, we have emotions and we have a realistic use, what we have here, of light and color. 188 00:18:50,380 --> 00:18:55,259 We are showing that it is practically nightingale, we have the sky much darker, this part is lighter. 189 00:18:56,119 --> 00:19:00,460 The clothes shine as if the light was out there. 190 00:19:01,000 --> 00:19:02,460 That is, we have more realism. 191 00:19:03,099 --> 00:19:07,019 In the Romanesque, the colors were not degraded, they were flat colors. 192 00:19:07,019 --> 00:19:10,000 Here we have this yellow degraded, it is not the same as this. 193 00:19:10,000 --> 00:19:15,319 son tonos distintos de amarillo igual que este rosa o rojo que tenemos aquí vale eso es lo que 194 00:19:15,319 --> 00:19:28,420 quiero que veáis the last part of the class today is in page 161 and is a focus of panel painting 195 00:19:28,420 --> 00:19:35,059 es decir pintura en tabla pintura sobre tabla en español vale entonces tenemos los retablos o 196 00:19:35,059 --> 00:19:43,480 altar pieces and two techniques to paint in these altar pieces okay so what is an altar piece is 197 00:19:43,480 --> 00:19:52,039 wooden panel behind the altar we have seen here okay behind the altar in the ape and we have 198 00:19:52,039 --> 00:19:59,160 that these altar pieces can be organized in three ways diptych triptych and polyptych 199 00:19:59,160 --> 00:20:02,640 Es decir, díptico, tríptico y políptico 200 00:20:02,640 --> 00:20:06,140 Es decir, el típtico o el tip 201 00:20:06,140 --> 00:20:08,900 Tip in English es como la madera 202 00:20:08,900 --> 00:20:10,740 Entonces, díptico, dos maderas 203 00:20:10,740 --> 00:20:12,200 Tríptico, tres maderas 204 00:20:12,200 --> 00:20:13,779 Políptico, más de una madera 205 00:20:13,779 --> 00:20:16,880 Es como, no sé si habéis estado en el Prado 206 00:20:16,880 --> 00:20:20,640 Y os suena el Jardín de las Delicias del Bosco 207 00:20:20,640 --> 00:20:22,859 Es como un mueble que se abre 208 00:20:22,859 --> 00:20:23,779 Es como una ventana 209 00:20:23,779 --> 00:20:25,319 Entonces tú a la que la abres 210 00:20:25,319 --> 00:20:27,579 Tienes el panel central y los dos laterales 211 00:20:27,579 --> 00:20:28,480 Eso es un tríptico 212 00:20:28,480 --> 00:20:34,059 el que tenemos aquí abajo funciona lo mismo estos dos paneles que tenemos aquí al lado este y este 213 00:20:34,059 --> 00:20:40,900 se cierran vale y se cierran hacia aquí y entonces se queda cerrado todo esto es un tríptico porque 214 00:20:40,900 --> 00:20:45,400 aunque aquí tengamos como dos curvas esto es un único panel el panel central y los dos paneles 215 00:20:45,400 --> 00:20:53,279 laterales es decir un díptico serían sólo dos paneles tríptico tres paneles y político más de 216 00:20:53,279 --> 00:20:57,920 tres paneles ahora os voy a poner el político el cordero místico para que lo veáis vale entonces 217 00:20:57,920 --> 00:21:01,000 So, just know that the retables are made up of several forms. 218 00:21:01,180 --> 00:21:07,619 Obviously, this is not a normal polyptych, because it is a very large retable, 219 00:21:07,740 --> 00:21:09,740 but this one we have here is like a polyptych. 220 00:21:09,859 --> 00:21:12,940 Each one of the parts are like added pieces, okay? 221 00:21:12,940 --> 00:21:13,740 This is a polyptych. 222 00:21:14,440 --> 00:21:16,339 But now I'm going to put another one, because you're going to see it much clearer. 223 00:21:18,190 --> 00:21:19,869 Okay, we have two techniques. 224 00:21:19,869 --> 00:21:25,089 We have two techniques to paint in this altarpiece, or in these wooden panels. 225 00:21:25,549 --> 00:21:28,869 That is the tempera, as it sounds to us, the current tempera, and the oil painting, 226 00:21:28,869 --> 00:21:36,250 el óleo vale entonces la témpera is very similar to the fresco painting and its pigments mix with 227 00:21:36,250 --> 00:21:44,009 egg yolk es decir yema de huevo but the difference between témpera and the fresco painting is the 228 00:21:44,009 --> 00:21:51,950 surface the fresco painting is done in the walls and témpera is done in the in a wooden panel 229 00:21:51,950 --> 00:21:53,410 ok, un panel de madera 230 00:21:53,410 --> 00:21:55,609 so, it's the same 231 00:21:55,609 --> 00:21:57,950 mix pigments 232 00:21:57,950 --> 00:21:59,990 that is the dust of the different 233 00:21:59,990 --> 00:22:00,930 colors with 234 00:22:00,930 --> 00:22:03,690 a jug of 235 00:22:03,690 --> 00:22:06,069 different kind 236 00:22:06,069 --> 00:22:07,910 of textures that 237 00:22:07,910 --> 00:22:09,230 get sticky 238 00:22:09,230 --> 00:22:10,910 y así como pegajos, ¿vale? 239 00:22:11,170 --> 00:22:13,190 and also we have 240 00:22:13,190 --> 00:22:15,509 with the tempera it's difficult to make change 241 00:22:15,509 --> 00:22:17,490 why? because they get dry 242 00:22:17,490 --> 00:22:19,750 so easily, se seca muy rápido 243 00:22:19,750 --> 00:22:21,750 entonces, como le des al color 244 00:22:21,750 --> 00:22:28,009 you already have that color and it is very complicated to change, that is why the tempera if you compare 245 00:22:28,009 --> 00:22:33,809 this one here with this is the one below that oil it looks totally different because the oil 246 00:22:33,809 --> 00:22:38,990 allows you to correct the tempera not the tempera once you give it it absorbs it so quickly the wood 247 00:22:38,990 --> 00:22:46,190 that it is very complicated to correct and the colors are much more flat it does not allow you to make 248 00:22:46,190 --> 00:22:52,549 degraded. However, with oil it is the opposite. Oil revolutions, so to speak, the pictorial technique 249 00:22:52,549 --> 00:22:57,569 because it allows you to play with shades, with colors, with textures, which is what will later 250 00:22:57,569 --> 00:23:04,069 allow the development of the Renaissance. So we have oil painting, pigments mixed with oil, 251 00:23:04,069 --> 00:23:11,029 that is, instead of using egg yolk, we use oil directly, we mix oil with these 252 00:23:11,029 --> 00:23:12,930 pigmentos del color. Esto de 253 00:23:12,930 --> 00:23:14,670 Flemish painters son 254 00:23:14,670 --> 00:23:16,269 pintores flamencos 255 00:23:16,269 --> 00:23:19,069 no flamencos del sur de España 256 00:23:19,069 --> 00:23:20,509 sino flamencos del norte de Europa 257 00:23:20,509 --> 00:23:23,089 la actual Holanda, los Países Bajos, Flandes 258 00:23:23,089 --> 00:23:25,309 ¿vale? Los flamencos de Flandes 259 00:23:25,309 --> 00:23:27,349 en inglés son Flemish painters 260 00:23:27,349 --> 00:23:28,190 y son 261 00:23:28,190 --> 00:23:30,890 they are the experts in this 262 00:23:30,890 --> 00:23:31,690 technique 263 00:23:31,690 --> 00:23:34,650 and you are going to show why 264 00:23:34,650 --> 00:23:37,069 and thanks to the oil 265 00:23:37,069 --> 00:23:39,190 painting we have more perfect paintings 266 00:23:39,190 --> 00:23:40,309 because the 267 00:23:40,309 --> 00:23:48,789 the oil painting dries slowly. It can be an advantage, we can change the things and we can 268 00:23:48,789 --> 00:23:54,710 create textures, but also it's a disadvantage because we have to wait a lot of time to get 269 00:23:54,710 --> 00:24:02,630 our painting, but for the artist is very useful. And with this oil painting we can mix colors, 270 00:24:02,630 --> 00:24:11,369 we can make like yellow and blue get green for example we can mix colors and we can add layers 271 00:24:11,369 --> 00:24:16,569 añadir capas es decir empezamos por el cielo dejamos que se seque pintamos encima la tierra 272 00:24:16,569 --> 00:24:21,289 o los bosquecitos estos que tenemos aquí y luego pintamos a las personas se pueden ir añadiendo 273 00:24:21,289 --> 00:24:26,089 capas es como el autocad y el photoshop vas añadiendo capas and the last thing that we have 274 00:24:26,089 --> 00:24:34,490 scene is the change in painting we can modify something that we haven't or have done in a wrong 275 00:24:34,490 --> 00:24:46,289 way okay and this is a political this or this the this scene that we have here is the same that we 276 00:24:46,289 --> 00:24:55,109 have here okay so we can divide the politics in different a piece of art so here we have the 277 00:24:55,109 --> 00:25:02,349 different parts of the wooden panel okay so we have more than three is apolitic this is Eve 278 00:25:02,349 --> 00:25:13,190 this is Adam this is Jesus Christ Sam Mary or Virgin Mary and if I don't remember well I think 279 00:25:13,190 --> 00:25:20,690 it's Saint Peter I'm not sure well but here we have the different the technique is totally 280 00:25:20,690 --> 00:25:26,710 different we have the landscape first of all no we have landscape we have clothes showing up 281 00:25:26,710 --> 00:25:33,829 movement shadows also tenemos sombras que nos dan realismo tenemos la forma de los cuerpos que son 282 00:25:33,829 --> 00:25:39,230 mucho más naturales fijaros en los caballos aquí abajo tenemos muchísimo más realismo que en el 283 00:25:39,230 --> 00:25:45,210 románico eso es lo que quiero que os fijéis frangelico con la anunciación this is an italian 284 00:25:45,210 --> 00:25:47,250 painter. Here we have also 285 00:25:47,250 --> 00:25:49,109 the perspective, con el punto 286 00:25:49,109 --> 00:25:50,869 de fuga. Esto lo veremos 287 00:25:50,869 --> 00:25:53,210 el mes de enquilamento, el año que viene, con el Renacimiento. 288 00:25:53,930 --> 00:25:54,950 ¿Vale? Los diferentes 289 00:25:54,950 --> 00:25:57,029 capítulos corintios, los tondos, 290 00:25:57,150 --> 00:25:59,269 diferentes elementos arquitectónicos 291 00:25:59,269 --> 00:26:00,569 propios de época clásica. 292 00:26:01,009 --> 00:26:02,789 Y aquí tenemos una vez más a Dan y Eva, 293 00:26:02,910 --> 00:26:05,069 expulsados del paraíso. Como veis, es una escena muy, muy 294 00:26:05,069 --> 00:26:05,849 recurrente. 295 00:26:07,450 --> 00:26:09,170 And the last painting that we are 296 00:26:09,170 --> 00:26:11,410 going to see is the most perfect. 297 00:26:12,109 --> 00:26:13,309 You are going to see why. 298 00:26:13,309 --> 00:26:21,309 This is the Matrimonio Arnolfini. It's from Flemish painter Van Eyck. 299 00:26:21,309 --> 00:26:29,309 And I want you to focus on this mirror that we have at the end of the room. 300 00:26:29,309 --> 00:26:39,309 The mirror is showing the other point of view of this room. Here you have the mirror. 301 00:26:39,309 --> 00:26:49,250 So if in this, that is the original picture, we have the two people looking at the painter. 302 00:26:50,250 --> 00:26:55,869 Here we have these two people looking in the opposite side. 303 00:26:56,170 --> 00:26:59,150 Es decir, nos están dando la espalda, porque aquí nos están mirando de frente. 304 00:26:59,390 --> 00:27:01,529 En el espejo se les ve que están de espaldas. 305 00:27:02,250 --> 00:27:05,069 Este tamaño tiene, creo que mide como unos 20 centímetros. 306 00:27:05,609 --> 00:27:07,329 Es decir, es como un DIN A4, como un folio. 307 00:27:07,329 --> 00:27:14,329 I'm going to look for it now taking advantage and I tell you the exact measure because I have not fallen in looking for it before 308 00:27:14,329 --> 00:27:20,329 but so that you can see that the painting is very small and to reach this level of detail you have to be very good 309 00:27:20,329 --> 00:27:31,329 and have a very good pictorial technique, not to say anything else, and above all that it can be adapted to any circumstance 310 00:27:31,329 --> 00:27:39,309 and the oil allows us that we give a second then what I want you to see is the detail that 311 00:27:39,309 --> 00:27:45,130 the dog's hair has, which is that it looks like real hair, it is that it is shining, it is always 312 00:27:45,130 --> 00:27:54,210 that you see the dog represented in a scene in a couple scene represents fidelity 313 00:27:54,210 --> 00:28:00,849 but then look in the mirror that we have small scenes surrounding each of the parts of the 314 00:28:00,849 --> 00:28:07,150 the mirror, the painting measures 82 x 60, that is, it is much larger than a folio but it does not reach a meter, 315 00:28:07,150 --> 00:28:12,349 that is, the painting is small compared to all the paintings that are in the Museo del Prado, this 316 00:28:12,349 --> 00:28:16,930 painting is small but look at the level of detail that it reaches, we know that they are bourgeois because 317 00:28:16,930 --> 00:28:21,609 we have some oranges here and the oranges were very difficult to get in Flanders in the 318 00:28:21,609 --> 00:28:26,170 14th century but a bourgeois who has money gets them, therefore it is a painting that is showing 319 00:28:26,170 --> 00:28:31,670 la gente el poder que tiene este matrimonio vale y sobre todo yo lo que quiero que os fijéis es en 320 00:28:31,670 --> 00:28:37,150 la técnica que utilizaba nate para mostrar el realismo es que fijaos en el brillo de los del 321 00:28:37,150 --> 00:28:43,950 perro de los ojos o de la nariz es que a mí me encanta o el detalle de este vestido eso lo 322 00:28:43,950 --> 00:28:50,529 consiguen con pincel y óleo con la témpera es imposible alcanzar este nivel de perfección y 323 00:28:50,529 --> 00:28:52,549 with the fresco 324 00:28:52,549 --> 00:28:54,650 it's the same, it's thanks to the oil 325 00:28:54,650 --> 00:28:55,750 look at the necklaces 326 00:28:55,750 --> 00:28:58,970 look how it reflects the necklaces on the wall 327 00:28:58,970 --> 00:29:00,230 I love this painting 328 00:29:00,230 --> 00:29:01,589 it's very very beautiful 329 00:29:01,589 --> 00:29:04,869 so here we finish the 330 00:29:04,869 --> 00:29:06,549 explanation and you have to do 331 00:29:06,549 --> 00:29:07,670 only two questions 332 00:29:07,670 --> 00:29:10,589 why do we say that gothic sculpture started to be 333 00:29:10,589 --> 00:29:11,809 independent from architecture 334 00:29:11,809 --> 00:29:14,809 and why was the space for fresco painting 335 00:29:14,809 --> 00:29:16,009 in churches reduced 336 00:29:16,009 --> 00:29:18,250 why did we start to talk about the fact that 337 00:29:18,250 --> 00:29:24,309 the Gothic sculpture begins to become independent of architecture and why the space for 338 00:29:24,309 --> 00:29:28,990 painting the fresco in the churches is reduced, it is what we have been explaining, you have it in the 339 00:29:28,990 --> 00:29:34,450 book too, but well, by logic you get it out and as always they have to be made in the notebook, you 340 00:29:34,450 --> 00:29:40,269 have to copy the announcements and the deadline because on Thursday, April 23rd, I have said it, if you have 341 00:29:40,269 --> 00:29:47,269 any questions, you can ask me without problem and that's it, okay? Anything you tell me.