03 — ARTWORK
Interior view
- MEDIUM
- Photo
- TYPE
- Interior
PALETTE
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COMMENTARY
UNDERLINED TERMS ARE DEFINED IN THE GLOSSARY.
At the beginning of the 15th century in Castile, links with Burgundy strengthened under Juan II, and as a result of trade, connections developed between Castile and Flanders. In art, this resulted in a style of decoration and a style of architecture known as Hispano-Flemish. This name refers to the style of Spanish architecture, painting, and decoration associated with the reign of Isabella I during the end of the 15th century and concentrated in central Spain, which reflects a combination of the decorative MudéjarSpanish style of decorative art based on the imitation of Islamic forms. style and more realist Flemish forms. The style is closely related to the Manuelinea late Gothic and early Renaissance decorative style in Portugal in the early 16th century (named after Manuel I). style in Portugal and overlaps significantly with 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)..
A lavish example of the style is the Capilla del Condestable in Burgos CathedralThe principal church of a province or diocese, where the throne of the bishop is placed. For reasons lost to time and tradition, a cathedral always faces west - toward the setting sun. The altar is placed at the east end. The main body, or nave, of the cathedral is usually divided into one main and two side aisles. These lead up to the north and south transepts, or arms of the cross, the shape in which a cathedral is usually formed.. It is a masterpieceA term now loosely applied to the finest work by a particular artist or to any work of art of acknowledged greatness or of preeminence in its field. Originally it meant the piece of work by which a craftsman, having finished his training, gained the rank of'master' in his guild. of decorative architecture, the 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. structure of the spacious two-story building being covered inside and out with filigree decoration in the Flamboyantstyle flamboyant (French), the last major style of French Gothic architecture, so called because of its highly elaborate "flame-like" tracery. It followed the Rayonnant. style. The architect was Simon de Colonia, the son of the German Hans of Cologne (Juan de Colonia) who was the master mason in Burgos.
The picture shows the interior of the Capilla del Condestable in Burgos Cathedral.
CITE THIS RECORD — BIBTEX
@online{wga-ref3b846854986b,
author = {Krén, Emil and Marx, Daniel},
title = {Interior view by SIMÓN DE COLONIA},
organization = {{Web Gallery of Art}},
date = {2026-09-09},
url = {https://beta.wga.hu/artists/simn-de-colonia-r57ddab377bff2c/interior-view-ref3b846854986b},
urldate = {2026-09-09},
langid = {english}
}ACCESSED 2026-09-09. REPLACE THE AUTHOR FIELD WITH THE COMMENTARY AUTHOR WHERE ONE IS NAMED.
OTHER WORKS BY SIMÓN DE COLONIA
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