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Subido el 20 de abril de 2020 por Marta N.

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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. 00:00:00
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. 00:00:15
First of all, with the sculpture we are going to start with this, we have a more realistic 00:00:30
sculpture instead of the Romanesque one. 00:00:37
Here in the three pictures that we have, we can realize that the perfection of the figures 00:00:41
are better than in Romanesque art. 00:00:49
So here we have half a shade, or a portrait, or a portal, a portada, and he's a pantocrator. 00:00:52
Here we have the Christian Majesty in the archivals with the different figures. 00:01:02
Here in the gems, also Las Jambas, we have more sculpture. 00:01:11
in the mullon or parteluz another one so this is very similar to romanesque but how can we know 00:01:17
this fasciate is gothic because of the type of art that we have if we focus on this part 00:01:25
this one here we have a point art un arco apuntado u ojival si recordais vale o target 00:01:35
So, here we have the main characteristic of Gothic architecture, the kind of arching, 00:01:44
so the rest of the figures adapt to this framework. 00:01:52
But you have to think that the figures are not every part of the figure in the wall, 00:01:57
so they are more realistic because they are more independent from the framework. 00:02:07
Here we have a space between the figures and the wall. 00:02:13
And in the Romanesque sculpture we didn't have it, if you remember. 00:02:17
So here we have the types of sculpture. 00:02:22
We are going to find sculpture in the façades, here we have one, and in the cloisters, in 00:02:25
the monasteries, los claustros de los monasterios. 00:02:31
And also we have the altar piece. 00:02:36
we have in spanish this is retablo okay vale se escribe asi retablo altar piece and it's a 00:02:38
sculpture made in wood it's a madera and located in the altars or the ups of the buildings of the 00:02:51
churches okay and also we have sepulchres is the sepulchros or tumbas that showing us the dead 00:02:59
people that are inside in a special way. Here we have La tumba del doncel de Sigüenza and he is 00:03:07
reading a book as he is alive but he is dead. This is a way to express the importance or the 00:03:15
personality of the character that is buried there while the sculpture. They use the sculpture to 00:03:25
to show the people some characteristics of the personality of these people. 00:03:33
So we can find this kind of sculpture in portraits or facades, altarpieces and sepulchres, tombs. 00:03:42
Here we have with the topic, that means the motifs of the thems that are shown or created 00:03:53
in the sculpture. 00:03:59
We have religious themes, as we did or we had in the Romanesque, the Virgin Mary, the 00:04:01
saints, Jesus Christ, God, whatever. 00:04:08
And also we have portraits of kings and nobles. 00:04:12
You have to remember that the Gothic art is a urban art and in the cities are living kings 00:04:15
and nobles and also people from the bourgeoisie. 00:04:24
So they paid for being represented in the churches or in the different buildings that we have in the Gothic art. 00:04:27
Ok, so now we are going to see each characteristic starting with the freestanding sculpture. 00:04:36
This freestanding means that the figures are less in the walls, that is, they are less in the wall and stand out more. 00:04:44
If you notice, in these four figures that we have here, the back is only supported on the wall. 00:04:53
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. 00:04:59
They do not need to be adapted to the frame, as we had in the Romanesque, but they are simply supported on the walls. 00:05:08
This is what is referred to as free-standing sculptures, that is, sculptures that are increasingly independent of the frame. 00:05:14
marco also they are less erratic that means they show movement why because we can see here well 00:05:21
she's with uh his her hand is missing but she has the arm blend and and also this figure and this 00:05:30
one and also we have little curves curvas in the clothes and in the legs so they are less 00:05:43
erratic they show movement for this reason they are less rigid so menos rígidas son más naturales 00:05:52
vale si os dais cuenta en el ángel que tenemos aquí esta figura del ángel es una de las más 00:05:59
conocidas de la catedral de reignes se está cogiendo la ropa tiene la muñeca curvada tiene 00:06:03
the shoulders are curved, the head is inclined, it is showing a naturalness that we did not have in the Romanesque. 00:06:11
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. 00:06:17
So now we are going to see each of the characteristics highlighted in these images. 00:06:28
we have the faces express feelings that means here we have four people and each 00:06:34
one show a different feeling the first one the angel that we have here well 00:06:44
it's not the same angel but it's very similar he is smiling he is happy so he 00:06:51
expressing a feeling. The second person that we have here she's smiling not in 00:06:58
the same way that the angel but she's happy, she's quiet, she's calm but 00:07:05
she's showing us a feeling and the rest of the two people is the same. In the 00:07:11
Romanesque we didn't have feelings in the sculptures. The sculptures were without 00:07:17
emotions because the important thing were the message. Here we have the 00:07:23
message and the beauty of the sculpture. Also here we have the drapery that means 00:07:29
clothes, los ropajes. La palabra ropajes es esa idea, the drapery. It gave shape to the 00:07:36
body. Thanks to the drapery of the clothes we can see the forms or the 00:07:43
shapes of these of these different bodies okay here we have the knee okay 00:07:50
and here also we have the knee and thanks to the clothes we can show or see 00:07:57
sorry the hip of the women or the woman sorry and also here we have thanks to 00:08:05
the clothes we can follow the movement of the figures you have to think always 00:08:11
in the Pantocrator, in the Romanesque. Their clothes are unnatural, are rigid, 00:08:17
are not showing us any movement. Here we have movement and reality and a natural 00:08:23
thing. Here we have the fur clothes. This is the idea that I want to 00:08:30
show you compare both pictures okay the first one this one is from gothic and this is from romanesque 00:08:41
can you see the differences between the clothes i think it's obvious here we have more realistic 00:08:49
more relief i'm a relieve y aqui estan como mas pegadas es decir estan tienen 00:08:57
relieve es decir tienen curvas tienen arrugas las figuras las ropas pero no son naturales 00:09:03
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. 00:09:09
also we have the sculptures were not isolated that means they create scenes and they interact 00:09:30
with each other es decir tienen un diálogo tienen una conversación entre las esculturas 00:09:39
no están solas no muestran un mensaje aleatorio muestran un mensaje realista incluso hablan entre 00:09:43
ellas en el lenguaje metafórico alguien que paga por aparecer en una iglesia por la interés está 00:09:49
acerca de la virgen o de un santo 00:09:54
por lo tanto va a hacer como que interactúa 00:09:56
con esa persona sagrada 00:09:58
¿vale? eso es a lo que se refiere 00:10:00
aquí, que las figuras 00:10:02
tienen realismo, es como si una foto 00:10:04
como te pillan hablando, pues te 00:10:06
representan así 00:10:08
and the last part, the S curve 00:10:09
es decir, la curva de la S of a body 00:10:12
that give us movement 00:10:14
I have to choose the 00:10:16
women, I'm not going, I'm not sure 00:10:18
what, in part 00:10:20
if we start here 00:10:22
Here we make an S. I'm going to choose another color to be easier for you to watch or to 00:10:24
see it. 00:10:36
This is one S and also here we have another one. 00:10:40
we start from this, okay? This is like the shape of the hip, la cadera, ¿vale? Esa S, 00:10:50
perdona, esa S es muy propia de época clásica, es lo que en, lo diré, en escultura griega 00:11:02
se llama la curva praxiteliana, porque el que la empezó a hacer fue Praxiteles, ¿vale? 00:11:10
Si os fijáis en la Venus de Milo, o en cualquier escultura griega que tenga ese contraposto, 00:11:15
that counterpoint of the knee with the opposite arm that is the praxitelian curve and that gives us 00:11:20
realism and gives us movement in the figure that is now being done from the gothic before 00:11:26
we did not have it because the romanesque were totally still the figures did not show realism 00:11:35
did not show naturalness did not show movement is worth therefore the gothic sculpture is going to be 00:11:39
all the opposite to the Romanesque, what they both maintain is that they are docked to the wall but 00:11:45
the Gothic sculpture is already more exempt, that is, more and more of the wall is released and that it represents 00:11:50
religious themes but for the rest they are practically the opposite and I return to this previous one, compare 00:11:57
always or keep in mind the two, that of Reims, totally natural, obviously it could be more 00:12:04
perfect, yes, but it is much more natural than the one below that is Romanesque, that is what I want 00:12:10
en lo que quiero llamaros la atención 00:12:15
vale 00:12:18
now we start with the painting 00:12:19
and here we have 00:12:22
three different 00:12:24
surfaces to show the painting 00:12:25
diferentes superficies 00:12:28
the first one is the stained glass windows 00:12:29
es decir, las vidrieras 00:12:31
and here we have some examples 00:12:33
these ones 00:12:35
perdón, me he utilizado otro color 00:12:36
these ones are from 00:12:39
I'm showing us different 00:12:40
scenes for the bible 00:12:43
and the kings 00:12:44
and the Virgin Mary 00:12:47
here 00:12:48
this is 00:12:49
San Cristobal 00:12:51
San Cristobal is the one who helps you cross the river 00:12:55
and he is always represented 00:12:57
with Jesus 00:12:59
on his shoulders 00:13:01
here we have the original scene 00:13:02
or Adán and Eve 00:13:05
with the snake 00:13:06
and the tree 00:13:08
and the forbidden fruit 00:13:10
And here we have a normal scene for the medieval times. Knights with their horses and it's an army. 00:13:13
But here we can see the perfection that this kind of painting has. 00:13:23
It's crystal, it's glass, painting glass. 00:13:30
You paint a piece of glass and you stick it. 00:13:35
Each piece of glass is joined by areas of copper. All these black lines are molten copper, sorry, bronze. 00:13:38
No, lead. I was messing with myself. It's lead, okay? That's why it's black. It's molten lead. 00:13:47
So they have a mold, they place the crystals and then they put the molten lead in it. 00:13:53
It's very complicated to make a glass window and keep you in a cathedral for so long. 00:13:57
There are many of the current cathedrals that the windows are not original because of wars, storms, structural failures, deterioration in general. 00:14:02
Many windows have been lost, but there are others that are preserved. 00:14:13
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. 00:14:16
Also, here we have the panel painting, as were the retables, this is an altar piece. 00:14:23
and here we have a huge structure a huge sculpture also made in wood and in gold 00:14:28
in the gothic art is very normal they have these panel paintings why because if we have 00:14:39
If we have higher buildings, brightened buildings, we... 00:14:56
Sorry, one moment, que empezamos con los aplausos y no se me va a oír, si no. 00:15:00
Vale, chicos, entonces, tenemos aquí panel paintings. 00:15:19
Ok, ya me he encontrado. 00:15:22
If we have higher buildings without walls, es decir, muros más altos, casi sin... 00:15:24
O sea, edificios más altos casi sin muro, no podemos pintar al fresco, 00:15:30
porque no tenemos muro en el que pintar. 00:15:33
So, what do we do? We build retables in wood, showing the scenes that we would put in the fresco. 00:15:35
That is what we have here. 00:15:43
So, these are two examples of panel painting. 00:15:45
Later we are going to focus a little bit on this technique. 00:15:49
And the last one, the miniature, we already seen this in the Romanesque. 00:15:52
It's miniature because of the little size, but also because of the minio, or minium, 00:15:56
which is like that reddish pigment that gives it the color, okay, well, here we have these of the cantigas 00:16:02
of Santa María del Rey Alfonso X, just like here, okay, they are showing us scenes of everyday life 00:16:07
and this is a codice, it is like a book called the good hours of the duke of berri, which is 00:16:14
an agricultural calendar, it is showing us the 12 months of the year from the nobility point of view, 00:16:21
okay, that is why it is always seen in the nobles, but it is also showing us the feud, each of the 00:16:25
It's an example of miniature painting that you can see. 00:16:30
Related to the characteristics of the painting, here we have a picture or a painting that you have from your book. 00:16:35
And it's from the 14th century, it's from Giotto, he's an Italian artist. 00:16:46
artist okay and we are going to use this picture to show or to see the different characteristics 00:16:54
as we have in or as we had in this culture we have more realism and more naturalism in the 00:17:01
painting is the same how can we get the more naturalism in the painting with the bodies the 00:17:09
face and the landscapes if you remember the Pantocrator of San Clemente del Taúl 00:17:15
this picture didn't have a landscape here we have a landscape is so bad preserved but this is the 00:17:19
sky okay and over there we have different 00:17:31
lights that showing us the different points of the sun here we have the ground okay in this time 00:17:35
is normal to show the landscape later i'm going to show you another examples to see the landscapes 00:17:45
but also the faces here we have the faces this man is so angry don't you see jesus is calm is 00:17:50
quiet because judas is going to kiss her his kiss his yeah kiss him 00:17:59
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, 00:18:15
Therefore, we have emotions and we have a realistic use, what we have here, of light and color. 00:18:41
We are showing that it is practically nightingale, we have the sky much darker, this part is lighter. 00:18:50
The clothes shine as if the light was out there. 00:18:56
That is, we have more realism. 00:19:01
In the Romanesque, the colors were not degraded, they were flat colors. 00:19:03
Here we have this yellow degraded, it is not the same as this. 00:19:07
son tonos distintos de amarillo igual que este rosa o rojo que tenemos aquí vale eso es lo que 00:19:10
quiero que veáis the last part of the class today is in page 161 and is a focus of panel painting 00:19:15
es decir pintura en tabla pintura sobre tabla en español vale entonces tenemos los retablos o 00:19:28
altar pieces and two techniques to paint in these altar pieces okay so what is an altar piece is 00:19:35
wooden panel behind the altar we have seen here okay behind the altar in the ape and we have 00:19:43
that these altar pieces can be organized in three ways diptych triptych and polyptych 00:19:52
Es decir, díptico, tríptico y políptico 00:19:59
Es decir, el típtico o el tip 00:20:02
Tip in English es como la madera 00:20:06
Entonces, díptico, dos maderas 00:20:08
Tríptico, tres maderas 00:20:10
Políptico, más de una madera 00:20:12
Es como, no sé si habéis estado en el Prado 00:20:13
Y os suena el Jardín de las Delicias del Bosco 00:20:16
Es como un mueble que se abre 00:20:20
Es como una ventana 00:20:22
Entonces tú a la que la abres 00:20:23
Tienes el panel central y los dos laterales 00:20:25
Eso es un tríptico 00:20:27
el que tenemos aquí abajo funciona lo mismo estos dos paneles que tenemos aquí al lado este y este 00:20:28
se cierran vale y se cierran hacia aquí y entonces se queda cerrado todo esto es un tríptico porque 00:20:34
aunque aquí tengamos como dos curvas esto es un único panel el panel central y los dos paneles 00:20:40
laterales es decir un díptico serían sólo dos paneles tríptico tres paneles y político más de 00:20:45
tres paneles ahora os voy a poner el político el cordero místico para que lo veáis vale entonces 00:20:53
So, just know that the retables are made up of several forms. 00:20:57
Obviously, this is not a normal polyptych, because it is a very large retable, 00:21:01
but this one we have here is like a polyptych. 00:21:07
Each one of the parts are like added pieces, okay? 00:21:09
This is a polyptych. 00:21:12
But now I'm going to put another one, because you're going to see it much clearer. 00:21:14
Okay, we have two techniques. 00:21:18
We have two techniques to paint in this altarpiece, or in these wooden panels. 00:21:19
That is the tempera, as it sounds to us, the current tempera, and the oil painting, 00:21:25
el óleo vale entonces la témpera is very similar to the fresco painting and its pigments mix with 00:21:28
egg yolk es decir yema de huevo but the difference between témpera and the fresco painting is the 00:21:36
surface the fresco painting is done in the walls and témpera is done in the in a wooden panel 00:21:44
ok, un panel de madera 00:21:51
so, it's the same 00:21:53
mix pigments 00:21:55
that is the dust of the different 00:21:57
colors with 00:21:59
a jug of 00:22:00
different kind 00:22:03
of textures that 00:22:06
get sticky 00:22:07
y así como pegajos, ¿vale? 00:22:09
and also we have 00:22:11
with the tempera it's difficult to make change 00:22:13
why? because they get dry 00:22:15
so easily, se seca muy rápido 00:22:17
entonces, como le des al color 00:22:19
you already have that color and it is very complicated to change, that is why the tempera if you compare 00:22:21
this one here with this is the one below that oil it looks totally different because the oil 00:22:28
allows you to correct the tempera not the tempera once you give it it absorbs it so quickly the wood 00:22:33
that it is very complicated to correct and the colors are much more flat it does not allow you to make 00:22:38
degraded. However, with oil it is the opposite. Oil revolutions, so to speak, the pictorial technique 00:22:46
because it allows you to play with shades, with colors, with textures, which is what will later 00:22:52
allow the development of the Renaissance. So we have oil painting, pigments mixed with oil, 00:22:57
that is, instead of using egg yolk, we use oil directly, we mix oil with these 00:23:04
pigmentos del color. Esto de 00:23:11
Flemish painters son 00:23:12
pintores flamencos 00:23:14
no flamencos del sur de España 00:23:16
sino flamencos del norte de Europa 00:23:19
la actual Holanda, los Países Bajos, Flandes 00:23:20
¿vale? Los flamencos de Flandes 00:23:23
en inglés son Flemish painters 00:23:25
y son 00:23:27
they are the experts in this 00:23:28
technique 00:23:30
and you are going to show why 00:23:31
and thanks to the oil 00:23:34
painting we have more perfect paintings 00:23:37
because the 00:23:39
the oil painting dries slowly. It can be an advantage, we can change the things and we can 00:23:40
create textures, but also it's a disadvantage because we have to wait a lot of time to get 00:23:48
our painting, but for the artist is very useful. And with this oil painting we can mix colors, 00:23:54
we can make like yellow and blue get green for example we can mix colors and we can add layers 00:24:02
añadir capas es decir empezamos por el cielo dejamos que se seque pintamos encima la tierra 00:24:11
o los bosquecitos estos que tenemos aquí y luego pintamos a las personas se pueden ir añadiendo 00:24:16
capas es como el autocad y el photoshop vas añadiendo capas and the last thing that we have 00:24:21
scene is the change in painting we can modify something that we haven't or have done in a wrong 00:24:26
way okay and this is a political this or this the this scene that we have here is the same that we 00:24:34
have here okay so we can divide the politics in different a piece of art so here we have the 00:24:46
different parts of the wooden panel okay so we have more than three is apolitic this is Eve 00:24:55
this is Adam this is Jesus Christ Sam Mary or Virgin Mary and if I don't remember well I think 00:25:02
it's Saint Peter I'm not sure well but here we have the different the technique is totally 00:25:13
different we have the landscape first of all no we have landscape we have clothes showing up 00:25:20
movement shadows also tenemos sombras que nos dan realismo tenemos la forma de los cuerpos que son 00:25:26
mucho más naturales fijaros en los caballos aquí abajo tenemos muchísimo más realismo que en el 00:25:33
románico eso es lo que quiero que os fijéis frangelico con la anunciación this is an italian 00:25:39
painter. Here we have also 00:25:45
the perspective, con el punto 00:25:47
de fuga. Esto lo veremos 00:25:49
el mes de enquilamento, el año que viene, con el Renacimiento. 00:25:50
¿Vale? Los diferentes 00:25:53
capítulos corintios, los tondos, 00:25:54
diferentes elementos arquitectónicos 00:25:57
propios de época clásica. 00:25:59
Y aquí tenemos una vez más a Dan y Eva, 00:26:01
expulsados del paraíso. Como veis, es una escena muy, muy 00:26:02
recurrente. 00:26:05
And the last painting that we are 00:26:07
going to see is the most perfect. 00:26:09
You are going to see why. 00:26:12
This is the Matrimonio Arnolfini. It's from Flemish painter Van Eyck. 00:26:13
And I want you to focus on this mirror that we have at the end of the room. 00:26:21
The mirror is showing the other point of view of this room. Here you have the mirror. 00:26:29
So if in this, that is the original picture, we have the two people looking at the painter. 00:26:39
Here we have these two people looking in the opposite side. 00:26:50
Es decir, nos están dando la espalda, porque aquí nos están mirando de frente. 00:26:56
En el espejo se les ve que están de espaldas. 00:26:59
Este tamaño tiene, creo que mide como unos 20 centímetros. 00:27:02
Es decir, es como un DIN A4, como un folio. 00:27:05
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 00:27:07
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 00:27:14
and have a very good pictorial technique, not to say anything else, and above all that it can be adapted to any circumstance 00:27:20
and the oil allows us that we give a second then what I want you to see is the detail that 00:27:31
the dog's hair has, which is that it looks like real hair, it is that it is shining, it is always 00:27:39
that you see the dog represented in a scene in a couple scene represents fidelity 00:27:45
but then look in the mirror that we have small scenes surrounding each of the parts of the 00:27:54
the mirror, the painting measures 82 x 60, that is, it is much larger than a folio but it does not reach a meter, 00:28:00
that is, the painting is small compared to all the paintings that are in the Museo del Prado, this 00:28:07
painting is small but look at the level of detail that it reaches, we know that they are bourgeois because 00:28:12
we have some oranges here and the oranges were very difficult to get in Flanders in the 00:28:16
14th century but a bourgeois who has money gets them, therefore it is a painting that is showing 00:28:21
la gente el poder que tiene este matrimonio vale y sobre todo yo lo que quiero que os fijéis es en 00:28:26
la técnica que utilizaba nate para mostrar el realismo es que fijaos en el brillo de los del 00:28:31
perro de los ojos o de la nariz es que a mí me encanta o el detalle de este vestido eso lo 00:28:37
consiguen con pincel y óleo con la témpera es imposible alcanzar este nivel de perfección y 00:28:43
with the fresco 00:28:50
it's the same, it's thanks to the oil 00:28:52
look at the necklaces 00:28:54
look how it reflects the necklaces on the wall 00:28:55
I love this painting 00:28:58
it's very very beautiful 00:29:00
so here we finish the 00:29:01
explanation and you have to do 00:29:04
only two questions 00:29:06
why do we say that gothic sculpture started to be 00:29:07
independent from architecture 00:29:10
and why was the space for fresco painting 00:29:11
in churches reduced 00:29:14
why did we start to talk about the fact that 00:29:16
the Gothic sculpture begins to become independent of architecture and why the space for 00:29:18
painting the fresco in the churches is reduced, it is what we have been explaining, you have it in the 00:29:24
book too, but well, by logic you get it out and as always they have to be made in the notebook, you 00:29:28
have to copy the announcements and the deadline because on Thursday, April 23rd, I have said it, if you have 00:29:34
any questions, you can ask me without problem and that's it, okay? Anything you tell me. 00:29:40
Subido por:
Marta N.
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Fecha:
20 de abril de 2020 - 20:29
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Clave
Centro:
IES FEDERICO GARCIA LORCA
Duración:
29′ 49″
Relación de aspecto:
1.78:1
Resolución:
1920x1080 píxeles
Tamaño:
199.92 MBytes

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