Reclaiming the Gothic
Over at “The Way of Beauty” David Clayton has written often about the importance of re-establishing the Gothic Style as a living tradition. He describes one such model from the Rheinau Psalter here.
Along with the Iconographic and the Baroque, the Gothic form is identified by Pope Benedict XVI as most appropriate to the Liturgy.
In many ways the Gothic is an extension of the Iconographic. It can be thought of as a more naturalized version of Byzantine iconography and incorporates many of the earlier form’s conventions and style notes.
I would like to offer my own contribution to this ongoing discussion with an adaptation of “The Annunciation,” also from the Rheinau Psalter.
In any age we choose to look at there is an enormous variety of levels of skill when it comes to the arts. This is true of the Iconographic just as much as it is true of the Gothic. It has been said that an icon, or sacred art, is more than “art.” That may be so but at the same time it is not less than art. We need to look for those examples of sacred art that display a high level of artistic skill. In my opinion the Rheinau Psalter is such an example.
While the late Gothic “International Style” begins to depart from the iconographic traditions, I believe the best model we have for a true sacred art in the Gothic form lies in illuminated manuscripts.
Here is the original Annunciation page from the psalter.
Iconographic to Gothic
In common with the iconographic form there is a border, albeit in this case a highly decorative one. The border is important as a sign that we are crossing over into a contemplation of the spiritual. In medieval manuscripts we often see characters breaking the border as a symbol that they are of two worlds or an example of the spiritual breaking into the physical. In this example Gabriel’s feet seem to simultaneously rest on and break over the border. The artist may well have had this idea in mind, that the Archangel Gabriel is a spiritual being breaking into the physical realm, as Mary is depicted well within the border and is indeed slightly obscured by it. But I would hesitate to call this a rule as we can find many examples where this convention is discarded such as in the Morgan Bible.
The background is not gold leaf as we would expect to find in an icon but it is lightly colored and sets off the figures well. The throne or seat that Mary has risen from would be right at home in a Byzantine style icon. The halos are likewise painted rather than gilded, perhaps due to the cost or availability of gold leaf, but the blue color could still be interpreted as the color of the “heavens.”
Stylistically the figures are rendered with a flatness and a style similar to the iconographic. We are not after realistic portraits that might distract us from prayerful contemplation. Saints Gabriel and Mary are evenly lit and not hidden in deep shadows.
The color palette is also limited. We do not see here the many jewell-like colors so characteristic of the later “International style.”
What is interesting is what is not included in this composition. There is no lily representing the virginity of Mary, and no dove symbolizing the Holy Spirit. These elements were not unknown at the time and became more common as the West developed its own form of symbolic language. Here Gabriel simply raises his hand in a gesture of blessing.
In adapting this painting I chose to include those elements that perhaps could be seen as distinguishing characteristics of Western Iconography. The lily is incorporated into the border, and the dove is central to the composition. Like the archangel, the Holy Spirit crosses the boundary between the spiritual and the physical. In my composition, Gabriel’s hand could still be seen as a gesture of blessing but also as pointing up to the Holy Spirit that will overshadow Mary.
I have also incorporated from the Western tradition, a banner bearing the words of Gabriel, “ave gratia Plena,” “Hail full of grace.”
Here is my version.
Obviously I did not intend to reproduce the original exactly, but rather to give new life to the Gothic form. The idea in redrawing the faces and the angelic wings was to simultaneously draw on examples from the iconographic form and speak more to the contemporary viewer. I have also borrowed from traditional iconography with the addition of the ribbon extending from the angel’s ear as a sign that he always hears the word of God.
It is my hope that this example serves to continue the discussion of re-establishing the Western traditions of sacred art as has been done so well for the traditions of the east. The Gothic period gave us many icons of sacred art that were largely unknown or not adopted in the east.
I would like to encourage artists to be inspired by the better examples of Iconographic/Gothic art. In edition to the Rheinau Psalter I would suggest the ceiling of St. Michael’s church in Hildesheim, Germany. And the Book of Hours of Jeanne d’Evreaux. Feel free to suggest others examples in the comments.
I hope to offer more examples going forward. The Rheinau Psalter seems to me to be one of the best examples of the Gothic drawing on the Iconographic. There are about a dozen full page paintings from the psalter so I will begin with those to get more comfortable with the style and then proceed to tackle more examples of western iconography.
I welcome all your comments and suggestions .
God Bless