03 — ARTWORK
Façade
MEDIEVAL SCULPTOR, Spanish · 1496 →
- MEDIUM
- Stone
- TYPE
- Other
PALETTE
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- FILE
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COMMENTARY
UNDERLINED TERMS ARE DEFINED IN THE GLOSSARY.
The façadethe front or principal face of a building, especially one elaborately constructed; a blind façade is a façade that is purely decorative and does not relate to the structure of the building. of the Colegio de San Gregorio de Valladolid is a perfect example of the Isabelline stylelate Gothic architectural and decorative style in Spain during the second half of the 15th century (named after the Spanish Queen Isabella I)., the final flowering of GothicGothic, which may well have originated with Alberti as a derogatory term and which certainly corresponds to Vasari's 'maniera tedesca' ('German style'), is properly the descriptive term for an artistic style which achieved its first full flowering in the Ile de France and the surrounding areas in the period between c. 1200 and c. 1270, and which then spread throughout northern Europe. It is characterized by the hitherto unprecedented integration of the arts of sculpture, painting, stained glass and architecture which is epitomized in the great cathedrals of Chartres, Amiens, and Reims or in the Sainte Chapelle in Paris. In all the arts the predominantly planar forms of the Romanesque are replaced by an emphasis on line. There is a transcendental quality, whether in the soaring forms of the pointed arches or in the new stress on the humanity of Christ, which similarly distinguishes it from the preceding Romanesque style. In thinking of Nicola (d. c. 1284) or Giovanni Pisano (d. after 1314) there is same danger of forgetting what had happened in French sculpture half a century or more earlier, and likewise it is hard to remember that the spectacular achievements of early Renaissance art are a singularly localized eddy in the continuing stream of late gothic European art. By northern European standards few Italian works of art can be called gothic without qualification, and the story of 13th and 14th century Italian architecture is as much one of resistance to the new style as of its reception, whether directly from France or through German or central European intermediaries. In sculpture and in painting, the Italian reluctance to distort the human figure, conditioned by a never wholly submerged awareness of the omnipresent antique heritage, gives a special quality to the work of even those artists such as Giovanni Pisano or Simone Martini who most closely approached a pure gothic style. Nevertheless, the vitalizing role of Northern gothic art throughout the early Renaissance and the period leading up to it should never be underestimated. The artistic, like the cultural and commercial, interaction was continuous and much of the Italian achievement is incomprehensible if seen in isolation. It is not merely at the level of direct exchanges between one artist and another, or the influence of one building; painting, manuscript or piece of sculpture upon another, that the effects are to be felt. The streaming quality of line which is so characteristic of Brunelleschi's early Renaissance architecture surely reflects a sensitivity to the gothic contribution which is entirely independent of, and lies much deeper than, the superficial particularities of form. The counterflow of influence and inspiration from South to North must likewise not be underrated. In particular, the contribution of Italian painters from Duccio and Simone Martini onwards is central to the evolution of the so-called International Gothic style developing in Burgundy, Bohemia and north Italy in the late 14th and early 15th centuries. art before the Renaissance. The sculptures are from the school of Gil de Siloe and Diego de la Cruz. Surrounding the coat-of-arms is a swarm of figurations echoing all aspects of the Gothic imagery. In this style Spain found the very essence of its geniusin classical Rome, a person's invisible tutelary god. In art from the classical period onwards, the low-ranking god was depicted as a winged, usually childish figure. in the art of reliefA sculptural work in which all or part projects from the flat surface. There are three basic forms: low relief (bas-relief, basso rilievo), in which figures project less than half their depth from the background; medium relief (mezzo-rilievo), in which figures are seen half round; and high relief (alto rilievo), in which figures are almost detached from their background.. The sculpture spreads over the architectural forms and in fact engulfs them, so that the whole façade appears to be a large relief, rather than a structure.
CITE THIS RECORD — BIBTEX
@online{wga-r986857d5fffaf6,
author = {Krén, Emil and Marx, Daniel},
title = {Façade by MEDIEVAL SCULPTOR, Spanish},
organization = {{Web Gallery of Art}},
date = {2026-09-12},
url = {https://beta.wga.hu/artists/medieval-sculptor-spanish-r2f8ea34ddebe8d/faade-r986857d5fffaf6},
urldate = {2026-09-12},
langid = {english}
}ACCESSED 2026-09-12. REPLACE THE AUTHOR FIELD WITH THE COMMENTARY AUTHOR WHERE ONE IS NAMED.
