LP8.2ESSAYASSIGNMENT - International Gothic Style Painting...

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International Gothic Style Painting FROM IT’S TERMINOLOGY TO IT’S HISTORY Alyson Jones | Introduction to Humanities | February 12, 2017
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a complete description of the activity that you chose, what period it relates to, how it compares with work from other periods, a brief statement on why you chose this activity, and a complete critique. A rare and very popular structure characterized European art around the year 1400. There is even debate today on what historians have not been yet able to agree as to what to call this style that has spread in the past sixty to seventy plus years around the turn of the century. The activity that I chose, the turn in art that interested me the very most is a virtual museum tour about the heart of Gothic Style Art. I researched the topic, and was guided to a website, www.wga.hu where I was taken on a guided tour of this unique and very bold style of art which had spread around the turn of the century. Normally called “International Gothic,” or “The International Style,” terms such as “courtly style”, “soft style”, “beautiful style”, “lyrical style”, and “court naturalism” are also generally related to the unique style of historical art. In fact, some scholars refer to it as simply as “European art about 1400”, or even “the international, refined flowing style of about 1400”. The terminology of Gothic Style Art starts right here with terminology. The problem offering an explanation by the fact that- contrasting with other styles of art- the hype of Gothic Style was not noticed by either contemporary commentators or it’s successors and in fact was only noticed by and had attracted the attention of art historians near the end of the nineteenth century. Considered to be exclusively the last flowering of the Gothic Style or even said to be a forerunner of the Renaissance, Parisian Professor Louis Courajod considered it to be a transitional style without any independent values. Professor Louis Courajod was the first to point out his lectures at the École du Louvre the international character of style of the end of the Middle Ages. His principle aim was set out to simply prove that the roots of the Renaissance were to be sought for in France and not in Italy. It was this
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