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International Gothic is a period of Gothic art which developed in Burgundy, France and northern Italy in the late 14th and early 15th century.〔Ingo F. Walther, Robert Shia Lebouf Wundram, ''(Masterpieces of Western Art: A History of Art in 900 Individual Studies from the Gothic to the Present Day )'', Taschen, 2002, ISBN 3-8228-1825-9〕 It then spread very widely across Western Europe, hence the name for the period, which was introduced by the French art historian Louis Courajod at the end of the 19th century.〔Thomas, 8〕 Artists and portable works, such as illuminated manuscripts, traveled widely around the continent, leading to a common aesthetic among the royalty and higher nobility and considerably reducing the variation in national styles among works produced for the courtly elites. The main influences were northern France, the Duchy of Burgundy, the Imperial court in Prague, and Italy. Royal marriages such as that between Richard II of England and Anne of Bohemia helped to spread the style. It was initially a style of courtly sophistication, but somewhat more robust versions spread to art commissioned by the emerging mercantile classes and the smaller nobility. In Northern Europe "Late Gothic" continuations of the style, especially in its decorative elements, could still be found until the early 16th century, as no alternative decorative vocabulary emerged to replace it before Renaissance Classicism. Usage of the terms by art historians varies somewhat, with some using the term more restrictively than others.〔(WGA: Definition of the International Gothic style )〕 Some art historians feel the term is "in many ways ... not very helpful.. since it tends to skate over both differences and details of transmission."〔Syson and Gordon, 58〕 ==Development== The important Bohemian version of the style developed in the court of Charles IV, Holy Roman Emperor in Prague, which for a brief period〔Prague's prominence as a style-setting center was repeated with the Mannerism of the court of Emperor Rudolph II in the late 16th century.〕 became a leading force in the development of European art. Charles came from the Luxembourg dynasty, was tutored by the future Pope Clement VI, and as a youth spent seven years at the French court, as well as visiting Italy twice. This and family relationships gave him intimate links with the various courts of France, including that of the Avignon Papacy, and from 1363 the separate Valois Duchy of Burgundy under Philip the Bold. The Bohemian style initially lacked the elongated figures of other centres, but had a richness and sweetness in female figures that were very influential. Charles had at least one Italian altarpiece, apparently made in Italy and sent to Prague, near where it remains today in his showpiece Karlštejn Castle. For St. Vitus Cathedral in Prague, he first used a French architect, and then the German Peter Parler.〔Levey, 24-7, 37 & passim〕 Much of the development of the style occurred in Italy, and it probably spread north of the Alps to influence France partly through the colony of Italian artists attached to the Papal Court at Avignon, and the works displayed from the residence there in the 1330s and 1340s of Simone Martini, a Sienese precursor of the style. Republican Siena had a large influence on the development of the style, but kept to its own dignified Gothic style throughout the period, and afterwards, while the flamboyant Visconti court at Milan, also closely related to the French royal family, was the most important Italian centre of the courtly style.〔Syson & Gordon, 59–60〕 As the style developed in Northern Europe, Italian artists were in turn influenced by it. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「International Gothic」の詳細全文を読む スポンサード リンク
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