gothic movement

The Death of the Virgin by Master of the Death of the Virgin (c. 1230)

1230

The Nativity by Nicola Pisano (1260)

1260

Nicola Pisano’s The Nativity, part of the Pisa Baptistery pulpit, blends classical and Gothic styles. Carved in marble, it features Mary reclining in a monumental pose, Christ in a manger, and the ox and donkey gazing at Him. To the left, an angel announces Christ’s birth to shepherds, while to the right, midwives bathe the infant. Joseph sits pensively below. The dense yet harmonious composition reflects Pisano’s mastery of emotion and classical form.

Madonna Enthroned by Cimabue(1280)

1280

Cimabue’s Madonna Enthroned is a groundbreaking altarpiece blending Byzantine and Gothic elements. Mary sits majestically on an ornate throne, holding the Christ Child, surrounded by angels in a symmetrical arrangement. Gold backgrounds emphasize divinity, while subtle modeling adds depth and humanity to the figures. Cimabue’s work marks a shift from flat iconography toward more naturalistic forms, foreshadowing the innovations of the Italian Renaissance.

The Rucellai Madonna (1285)

Apr 15, 1285

The Rucellai Madonna by Duccio di Buoninsegna, created in 1285, is a tempera-on-panel altarpiece depicting the Virgin Mary enthroned with the Christ Child, surrounded by angels. Commissioned for Santa Maria Novella in Florence, it reflects Byzantine influence in its solemn figures and gold detailing, while hinting at Gothic elegance in its delicate drapery. This work marks a key transition in Italian art between Byzantine and Gothic styles.

The Crucifixion by Cimabue (c. 1287–1288)

1287

St. Francis Preaching to the Birds by Giotto (1297)

1297

Giotto’s St. Francis Preaching to the Birds, part of the Legend of St. Francis frescoes in Assisi, illustrates the saint’s humility and connection to nature. St. Francis, robed in brown, gestures gently as birds gather attentively, symbolizing harmony between humanity and creation. The naturalistic setting and expressive figures showcase Giotto’s revolutionary use of depth and emotion, marking a departure from the flatness of earlier medieval art.

The Last Judgment by Giotto (1306)

1306

Giotto’s The Last Judgment, in the Scrovegni Chapel, is a dramatic fresco depicting Christ as the central judge, flanked by angels, apostles, and saints. Below, the blessed ascend to heaven while the damned are cast into hell, with vivid scenes of torment. Giotto’s use of spatial depth, detailed expressions, and dynamic composition conveys both divine authority and human emotion, exemplifying his pivotal role in the transition to Renaissance art.

Virgin and Child Enthroned with Saints by Duccio (1311)

1311

Duccio’s Virgin and Child Enthroned with Saints , the central panel of the Maestà, features the Virgin Mary seated on an elaborate throne, holding the Christ Child. Saints and angels surround her in a harmonious, hierarchical arrangement. The gold background underscores divinity, while Duccio’s delicate figures and subtle use of line and color add warmth and humanity. This masterpiece bridges Byzantine tradition and the naturalism of early Italian Gothic art.

Annunciation with St. Margaret and St. Ansanus by Simone Martini and Lippo Memmi (1333)

1333

The Allegory of Good and Bad Government by Ambrogio Lorenzetti (1338–1339)

1338

The Crucifixion by Pietro Lorenzetti (c. 1340)

1340

Presentation at the Temple by Ambrogio Lorenzetti (1342)

1342

The Visitation by Melchior Broederlam (1393–1399)

1392

The Wilton Diptych (c. 1395–1399)

1395

Tres Riches Heures du Duc de Berry (1412–1416)

1412