03 — ARTWORK
Interior view
- MEDIUM
- Photo
- TYPE
- Other
PALETTE
HOVER OR TAP A SWATCH FOR NAME, SHARE AND HEX. SAMPLED FROM THE IMAGE — INDICATIVE, NOT A PIGMENT ANALYSIS.
THIS REPRODUCTION DOWNLOAD THE FULL FILE ↓
- FILE
- 1500 × 1125 px · JPEG
COMMENTARY
UNDERLINED TERMS ARE DEFINED IN THE GLOSSARY.
The east end of the church of Saint-Pierre in Caen was built by Hector Sohier between 1528-45. Structurally it is a Late 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. building, and internally the vaulting goes through every convolution known to 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. builders, particularly in the Lady Chapelin English churches, a chapel dedicated to the Virgin., which rises to double the height of the ambulatorySemicircular or polygonal circulation space enclosing an apse or a straight-ended sanctuary.. But from the ribs and bosses hang, as it were, stalactites of pierced Italianate decoration.
On the outside the effect is more sober. The form of the chapels is still Gothic, and the windows, though round-headed, still have Gothic tracerythe geometrical architectural ornamentation which is used in Gothic architecture to subdivide the upper parts of the arches belonging to large windows, and later to subdivide gable ends, walls, and other surfaces.. The pierced balustradeA rail supported by a row of small posts or open-work panels., however, is more fanciful, and the artist has given free rein to his imagination in the candelabraA large, usually decorated, candlestick, usually with several branches or arms. which replace the finials. The two elements, French medieval and north Italian QuattrocentoThe 15th century in Italian art. The term is often used of the new style of art that was characteristic of the Early Renaissance, in particular works by Masaccio, Brunelleschi, Donatello, Botticelli, Fra Angelico and others. It was preceded by the Trecento and followed by the Cinquecento., stand clearly distinguishable, and yet the result is not discordant.
The photo shows the ambulatory.
CITE THIS RECORD — BIBTEX
@online{wga-rc7d9136bcb2958,
author = {Krén, Emil and Marx, Daniel},
title = {Interior view by SOHIER, Hector},
organization = {{Web Gallery of Art}},
date = {2026-09-09},
url = {https://beta.wga.hu/artists/sohier-hector-rf929dcb8e01d57/interior-view-rc7d9136bcb2958},
urldate = {2026-09-09},
langid = {english}
}ACCESSED 2026-09-09. REPLACE THE AUTHOR FIELD WITH THE COMMENTARY AUTHOR WHERE ONE IS NAMED.
