Journal articles: 'Gothic Art'

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Chialant, Maria Teresa, and Linda Bayer-Berenbaum. "The Gothic Imagination: Expansion in Gothic Literature and Art." Yearbook of English Studies 16 (1986): 308. http://dx.doi.org/10.2307/3507831.

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BRACONS, J. "THE KEY TO GOTHIC ART." Art Book 1, no. 3 (June 1994): 16b. http://dx.doi.org/10.1111/j.1467-8357.1994.tb00126.x.

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Brilliant, Virginia. "Introduction: Gothic art in America." Journal of the History of Collections 27, no. 3 (July 29, 2014): 291–95. http://dx.doi.org/10.1093/jhc/fhu033.

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Waham, Jihad Jaafar. "The Art of Gothic Literature: An Analysis of Mary Shelley's Frankenstein." International Linguistics Research 6, no. 2 (April 25, 2023): p1. http://dx.doi.org/10.30560/ilr.v6n2p1.

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This article examines Mary Shelley's Frankenstein as an example of Gothic literature. The author analyzes the novel's themes, characters, and literary devices to explore how Shelley uses Gothic elements to create a complex and emotionally resonant work. The article also delves into the historical and cultural context in which the novel was written, highlighting the influence of Romanticism and Enlightenment philosophy. Ultimately, the article argues that Frankenstein is a masterpiece of Gothic literature that continues to captivate readers and inspire new interpretations. In "The Art of Gothic Literature: An Analysis of Mary Shelley's Frankenstein," the author examines Shelley's famous novel and its contribution to the Gothic literary tradition. The article explores the novel's themes, including the dangers of scientific progress, the limits of human knowledge, and the consequences of playing god. The author also analyzes the novel's structure, characterization, and use of symbolism, highlighting the ways in which Shelley draws upon Gothic conventions while also subverting them. Ultimately, the article argues that Frankenstein remains a powerful and influential work of Gothic literature that continues to captivate readers more than two centuries after its publication. This article analyzes Mary Shelley's novel "Frankenstein" through the lens of gothic literature. The author explores how Shelley incorporates various gothic elements such as supernatural occurrences, grotesque imagery, and emotional intensity to create a dark and unsettling atmosphere. The article also delves into the themes of the novel, including the dangers of playing god and the isolation and alienation experienced by the creature. Through a close reading of the text, the author highlights the literary techniques that Shelley employs to convey these themes and to create a timeless work of gothic literature. Ultimately, the article argues that "Frankenstein" remains a relevant and powerful example of the gothic genre due to its ability to evoke fear, explore complex themes, and showcase the artistry of its author.

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Killebrew, Zachary. "“A Poor, Washed Out, Pale Creature”: Passing, Dracula, and the Jazz Age Vampire." MELUS 44, no. 3 (2019): 112–28. http://dx.doi.org/10.1093/melus/mlz023.

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Abstract Although critics have repeatedly referenced the stagey or cinematic elements that characterize Passing’s (1929) narrative structure and occasionally observed its gothic aesthetics, thus far no critic has attempted to contextualize Nella Larsen’s novel within the American stage and film culture of the early twentieth century or the concurrent revitalization of America’s interest in the Gothic in film and theater. Situated primarily in New York and helmed by many of the same individuals, the Harlem and Gothic Renaissances of the interwar years cooperated to reframe racial and aesthetic discourses, as Harlem art absorbed and reimagined gothic art, culture, and slang and imbued Bram Stoker’s Dracula (1897) and its successors with covert racial commentary. This essay studies Nella Larsen’s Passing within this context, paying special attention to the influence of American racial discourse on Horace Liveright’s 1927 stage version of Dracula and its mutually influential relationship with black theater, art, and discourse. Melding contemporary archetypes of the Jazz Age vamp and gothic vampire to construct its liminal heroine, Clare Kendry, as a gothic figure in the vamp/vampire paradigm, Passing repurposes gothic elements to challenge racial binaries and to destabilize the racist status quo. This study suggests the significant extent to which Harlem Renaissance authors not only adapted the Gothic within their own literature but also reinvented and redefined it in the popular discourses of the twentieth century.

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Silver, Larry, Richard Marks, and Paul Williamson. "Gothic: Art for England 1400-1547." Sixteenth Century Journal 36, no. 2 (July 1, 2005): 465. http://dx.doi.org/10.2307/20477365.

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Riall, Nicholas. "Gothic: Art for England 1400-1547." Renaissance Studies 18, no. 2 (June 2004): 322–27. http://dx.doi.org/10.1111/j.0269-1213.2004.00062.x.

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Binski, P. "Late Gothic England: Art and Display." English Historical Review CXXIV, no. 510 (September 17, 2009): 1156–57. http://dx.doi.org/10.1093/ehr/cep233.

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Li, Jinlin. "A Brief Analysis of Gothic Culture." Learning & Education 10, no. 3 (November 7, 2021): 122. http://dx.doi.org/10.18282/l-e.v10i3.2412.

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The Statue of Liberty,Barbie doll,American Gothic,buffalo and nickel,and Uncle Sam are known as the five cultural symbols of the United States.Originally,American Gothic is a 76.2x63.5cm oil painting created by Grant Wood who graduated from Art Institute of Chicago. The painting consists of a house,a farmer and his sister,conveying the author’s deep understanding of Gothic art.However,in the late period,American Gothic gradually became a synonym of a thought,and also represented a group of people with common characteristics.This thesis mainly analyzes the definition,cultural connotation,existence value and derivatives of Gothic culture in The United States.

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Gasimova, Elfana, Gulchohra Salehzadeh, and Narmina Namazov. "FEATURES OF STAİNED GLASS ART İN THE DESİGN SAMPLES." InterConf, no. 13(109) (May 20, 2022): 200–206. http://dx.doi.org/10.51582/interconf.19-20.05.2022.026.

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The main purpose of stained glass art is to achieve a harmonious look in the interior as well as exterior design of architectural monuments. Roman style in the Middle Ages, especially in the period of the Gothic style stained glass art has gone through a period of development to the highest stage of development. It is impossible not to be amazed by the wonderful color composition of stained glass art in the architectural monuments of the Gothic period. In modern times, stained glass art can make a space more monumental as the main decorative element of any space.

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Freitas, Eduardo Pacheco. "O desenvolvimento da arquitetura gótica a partir da filosofia escolástica." Nuntius Antiquus 9, no. 2 (December 31, 2013): 201–20. http://dx.doi.org/10.17851/1983-3636.9.2.201-220.

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This paper aims to explore the onset and peak of the development of Gothic architecture, religious art and architecture eminently urban, between the twelfth and thirteenth centuries in the medieval West, in a socio-religious Catholic hegemony. The message sent to the faithful through the Gothic architecture, replacing Romanesque, indicates in this case a major change in mindset, since we consider the importance of semiotics in art, architecture and urban space.

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Winter, Kari J., and Anne Williams. "Art of Darkness: A Poetics of Gothic." South Atlantic Review 61, no. 1 (1996): 171. http://dx.doi.org/10.2307/3200789.

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Thorslev,, Peter L., and Anne Williams. "Art of Darkness: A Poetics of Gothic." Studies in Romanticism 36, no. 3 (1997): 488. http://dx.doi.org/10.2307/25601244.

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Richter, David, and Anne Williams. "Art of Darkness: A Poetics of Gothic." Modern Language Review 93, no. 1 (January 1998): 191. http://dx.doi.org/10.2307/3733664.

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Givens, Jean A. "Observation and image-making in Gothic art." Endeavour 23, no. 4 (January 1999): 162–66. http://dx.doi.org/10.1016/s0160-9327(99)80039-8.

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Marini, Anna Marta, and Julia Round. "Gothic in Comics and Children’s Literature: An Interview with Julia Round." REDEN. Revista Española de Estudios Norteamericanos 3, no. 2 (May 15, 2022): 80–99. http://dx.doi.org/10.37536/reden.2022.3.1821.

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Julia Round is Associate Professor in English and Comics Studies at Bournemouth University, where she teaches various courses including English and Literary Media. Her main fields of research are the gothic comics and children’s literature. She’s one of the editors of the peer-reviewed academic journal Studies in Comics, as well as one of the organizers of the annual International Graphic Novel and Comics Conference. She’s also one of the editors of the book series Encapsulations from Nebraska University Press. Besides publishing numerous essays, she’s published the monographs Gothic in Comics and Graphic Novels: A Critical Approach (2014) and Gothic for Girls: Misty and British Comics (2019). She’s also an author of short comics that have been published in anthologies and fanzines, including ‘Doll Parts’ (with art by Catriona Laird), ‘The Haunting of Julia Round’ (with art by Letty Wilson) and ‘Borrowed Time’ (with art by Morgan Brinksman). She shares her work at www.juliaround.com.

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AĞIR, Barış. "Toplumsal Cinsiyet, Anlatı Türü ve Kadın Gotiği: Angela Carter’ın “Kanlı Oda” ve Charlotte Perkins Gilman’ın “Sarı Duvar Kağıdı” Öykülerinde Ataerkil Normlara Direniş." Journal of International Scientific Researches 8, no. 2 (July 10, 2023): 237–56. http://dx.doi.org/10.23834/isrjournal.1292294.

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The female gothic reinterprets works by female authors by fusing feminism and the study of gothic literature. In actuality, it represents a significant advancement in the study of gender in Gothic literature. In works written in the gothic style by women, the oppression of women in patriarchal society is reflected, and the destruction of women at the hands of patriarchy is emphasized throughout gothic art; in this sense, the resilience of the female gothic protagonists in the face of adversity symbolizes their maturation as women. Based on this context, this research attempts to compare "The Bloody Chamber" by Angela Carter with "The Yellow Wallpaper" by Charlotte Perkins Gilman from the standpoint of the feminine Gothic fiction. The dark tragedies that await women in patriarchal culture are explored by Carter and Gilman in ways that transcend beyond the normal boundaries of the gothic genre. By contrasting the narratives, this study aims to show how women begin to question and even demolish patriarchal chauvinism and move away from their subservient position in patriarchal society.

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Kim, Kyuchin. "Czech Culture in Prague: Architecture." International Area Review 6, no. 1 (March 2003): 19–33. http://dx.doi.org/10.1177/223386590300600102.

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Prague's main feature is that, out of many cultural treasures, it preserved its architectural culture and put it to practical use to present day. Particularly Prague has embraced a wealth of architectural styles from many ages. From the Romanesque, the Gothic culture of Czech's pinnacle age, Baroque, Neo Classicism, the Art Nouveau style buildings that concentrated in Prague at the end of 19th century and finally to modern structures. As we have studied, Prague is a textbook of historical styles: a Romanesque rotunda, a Gothic cathedral, a constellation of Baroque churches and palaces, a Renaissance summer palace, whole districts with histoicizing ‘neo-styles: neo-Gothic, neo-Renaissance, neo-Baroque, neo-Classic,’ Art Nouveau cafes, unfunctional pebble-stone streets and as yet undigested, isolated postmodern structure such as ‘Dancing Building-Gunger and Fred Building’ by Frank O. Gehry and Vlado Milinic

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Long, Declan. "A New Darkness: Gothic Impulses in the Art of Willie Doherty." Irish University Review 53, no. 1 (May 2023): 103–26. http://dx.doi.org/10.3366/iur.2023.0592.

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This essay traces the development of gothic impulses in the art of Northern Irish visual artist Willie Doherty (b.1959, Derry), considering, briefly, the disquieting ambiguities of his early photographs, before studying specific examples of moving-image work made in the years following the signing of the Good Friday Agreement in Northern Ireland. The essay centres on the gothic attributes of films that present enigmatic characters in states of enduring confinement and existential uncertainty. Depicting these sometimes spectral figures in settings where the real seems to coincide with the unreal, the natural with the supernatural, Doherty draws on and defamiliarizes Northern Ireland’s conditions of aftermath, while also widening his artistic lens to take account of other connections, other contexts. Two short, looping film works – The Amnesiac (2015) and Endless (2020), each focusing on the sustained suffering and shame of a solitary male figure – are analyzed in detail. Both films, in different ways, exemplify the combination of strict aesthetic control and symbolic or thematic ‘excess’ that characterizes Doherty’s approach to the gothic.

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Smith, Jeffrey Chipps. "Gothic and Renaissance Art in Nuremberg, 1300-1550." Speculum 64, no. 1 (January 1989): 166–68. http://dx.doi.org/10.2307/2852212.

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Krpič, Tomaž. "Believing and seeing: The art of Gothic cathedrals." Visual Studies 26, no. 1 (March 15, 2011): 80–81. http://dx.doi.org/10.1080/1472586x.2010.502702.

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Janson, Carol. "Gothic and Renaissance Art in Nuremberg, 1300-1550." Sixteenth Century Journal 19, no. 3 (1988): 479. http://dx.doi.org/10.2307/2540480.

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Васильєва, О. С., М. С. Винничук, І. В. Васильєва, and І. В. Олійник. "АРХІТЕКТУРА ЯК ДЖЕРЕЛО НАТХНЕННЯ ДЛЯ РОЗРОБКИ АВТОРСЬКИХ КОЛЕКЦІЙ ОДЯГУ." Art and Design, no. 1 (June 3, 2020): 70–81. http://dx.doi.org/10.30857/2617-0272.2020.1.5.

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Identify the features of the artistic and plastic properties of gothic and neo-gothic architecture. Find their characteristic forms and artistic and compositional features, explore and highlight the characteristic stylistic interpretations of gothic architecture in modern clothing collections. The study used the basic principles of a systematic approach to the art design of modern author's clothing collections: literary and analytical studies and figuratively associative stylization of the source of creativity. The analysis carried out and the most characteristic artistic and compositional solutions of the gothic architectural style solutions. The basic techniques and stylization of the elements of the gothic architectural style in modern collections of fashionable clothes are determined. The principles of design modern collections of fashion designers are defined, where a gothic architectural style was used as a creative source. The research results used in the development of the author's collection of women's clothing. The paper sets out the basic artistic and compositional features of the gothic and neo-gothic architectural styles (forms, decorative elements and color combinations) and their application in the design of collections of modern fashionable clothes. The analysis of the artistic and compositional features of the collections of the world's leading designers in the gothic and neo-gothic styles carried out and information about the features of their interpretation systematized. Practical recommendations on the choice artistic and compositional solutions, design and decorative elements, selection of materials, color, accessories, hats, for the design of modern women's clothing with stylization elements of gothic and neo-gothic architectural styles are presented. The research results used to develop a collection of women's clothing.

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Wagner, Sandra Aline. "Post-Horror: Art, Genre and Cultural Elevation. By David Church." Gothic Studies 23, no. 3 (November 2021): 357–59. http://dx.doi.org/10.3366/gothic.2021.0112.

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Titarenko, S. D., and M. M. Rusanova. "GOTHIC TRADITION IN LITERATURE FROM THE PERSPECTIVE OF INTERMEDIAL ANALYSIS." Culture and Text, no. 44 (2021): 43–55. http://dx.doi.org/10.37386/2305-4077-2021-1-43-55.

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The article is devoted to the insufficiently studied problem of using intermedial analysis for studying the Gothic tradition in the literature of Russian symbolism (on the example of V. Brusov’s and F. Sologub’s works). We focus our attention on transition a visual image or a medieval art motive from one sign system to another. We analyze how medieval cultural categories correspond to the chronotope and figurative system in the Gothic novels of the 18th - early 19th century. It is concluded that the Symbolists refer to the visual images of the Gothic novel not only as elements of tradition, but also as categories of the culture of the Middle Ages.

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Mazurczak, Urszula. "Ikonografia wcielenia w sztuce wczesnoromańskiej i romańskiej na wybranych przykładach scen Bożego narodzenia." Vox Patrum 38 (December 31, 2000): 401–11. http://dx.doi.org/10.31743/vp.7265.

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In the art the Theme of Incarnation was illustrated in a rich scene repertiore creating its prototypes at the early Romanesque and Romanesque period. It was also the time of dynamically forming motifs in the art that defined the Gothic art and to a high degree modern one. In the fine arts such a model of Incarnation was made by Nativity scene.

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Velilla, Cristina, Alfredo Alcayde, Carlos San-Antonio-Gómez, Francisco G. Montoya, Ignacio Zavala, and Francisco Manzano-Agugliaro. "Rampant Arch and Its Optimum Geometrical Generation." Symmetry 11, no. 5 (May 3, 2019): 627. http://dx.doi.org/10.3390/sym11050627.

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Gothic art was developed in western Europe from the second half of the 12th century to the end of the 15th century. The most characteristic Gothic building is the cathedral. Gothic architecture uses well-carved stone ashlars, and its essential elements include the arch. The thrust is transferred by means of external arches (flying buttresses) to external buttresses that end in pinnacles, which accentuates the verticality. The evolution of the flying buttresses should not only be considered as an aesthetic consideration, but also from a constructive point of view as an element of transmission of forces or loads. Thus, one evolves from a beam-type buttress to a simple arch, and finally to a rampant arch. In this work, we study the geometry of the rampant arch to determine which is the optimum from the constructive point of view. The optimum rampant arch obtained is the one with the common tangent to the two arches parallel to the slope line. A computer program was created to determine this optimal rampant arch by means of a numerical or graphical input. It was applied to several well-known and representative cases of Gothic art in France (church of Saint Urbain de Troyes) and Spain (Cathedral of Palma de Mallorca), establishing if they were designs of optimal rampant arches or not.

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Elina Gertsman. "THE FACIAL GESTURE: (MIS)READING EMOTION IN GOTHIC ART." Journal of Medieval Religious Cultures 36, no. 1 (2010): 28. http://dx.doi.org/10.5325/jmedirelicult.36.1.0028.

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Campbell, C. Jean. "Courting, Harlotry and the Art of Gothic Ivory Carving." Gesta 34, no. 1 (January 1995): 11–19. http://dx.doi.org/10.2307/767120.

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Elina Gertsman. "The Facial Gesture: (Mis)Reading Emotion in Gothic Art." Journal of Medieval Religious Cultures 36, no. 1 (2010): 28–46. http://dx.doi.org/10.1353/mrc.0.0003.

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Little, Charles. "The art of Gothic ivories: studies at the crossroads." Sculpture Journal 23, no. 1 (January 2014): 13–29. http://dx.doi.org/10.3828/sj.2014.3.

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Raguin, Virginia C. "Intimacy through Visual Touch: The World before Gothic Art." Interfaces 28, no. 1 (2008): 83–94. http://dx.doi.org/10.3406/inter.2008.1337.

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Arutynyan, A. A. "German history of art of 19th century and problems of Armenian Medieval heritage." Vestnik of Saint Petersburg State University of Culture, no. 2 (31) (June 2017): 147–50. http://dx.doi.org/10.30725/2619-0303-2017-2-147-150.

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The science of art in Germany is based on the classical tradition, associated with a focus on ancient heritage, and a romantic perception of Gothic as a manifestation of the national school. In the mid-nineteenth century the first General history of art appeared, which, along with the national art and culture examined regional schools. Armenian medieval art is systematized and concisely described in the work of Kugler, in Schnaase’s book analysis becomes more comprehensive, detailed and consistent.

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SNELL, K. D. M., and RACHAEL JONES. "Churchyard Memorials, ‘Dispensing with God Gradually’: Rustication, Decline of the Gothic and the Emergence of Art Deco in the British Isles." Rural History 29, no. 1 (March 19, 2018): 45–80. http://dx.doi.org/10.1017/s0956793318000031.

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Abstract:This article considers rusticated memorials in many churchyards and cemeteries in England and Wales, between c. 1850 and the present day, analysing their forms, chronology, and their wider social and artistic significances. These memorials have hitherto been a neglected form among British memorial styles. The discussion here focuses on the English Midlands, Kensal Green Cemetery (London), and Montgomeryshire in Wales. It appraises how such memorial rustication may relate to changing attitudes to rurality, ‘natural’ landscapes, and secularisation over time. As an analysis of shifting memorial tastes, the article assesses the chronology of rustication against the periodisation of two more dominant memorial types: namely Gothic memorials, which prevailed in the later nineteenth and early twentieth centuries, and Art Deco memorials, which gained popularity from the 1920s. It appraises regional differences in memorial style change, showing little English and Welsh variation in this after the mid-nineteenth century. There is attention to the hitherto little studied decline of the Gothic, and to the wider significance of the more secularised memorial forms that followed it. The role of these Gothic, rusticated, and Art Deco memorials for an understanding of social, attitudinal, religious and secularising change is emphasised.

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Spinadel, Vera de. "APPLICATION OF THE PROPORTION THEORY TO FORM DESIGN1." Boletim da Aproged, no. 34 (December 2018): 121–22. http://dx.doi.org/10.24840/2184-4933_2018-0034_0018.

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Throughout the evolution of human culture, starting from the early Prehistory, following with the sacred art of Egypt, India, China, Islam and other traditional civilizations, the designers had tried to produce harmonic forms that simultaneously were particularly beautiful. This objective dominated Greek and Roman art and Architecture, persisting in the movements of the Gothic Middle Ages and later on, in the Renaissance.

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Demchenko, Aleksandr Ivanovich. "The edges of humanism of the Renaissance in the mid-13th – the mid-16th century: Part 1." Pan-Art 4, no. 2 (April 4, 2024): 75–84. http://dx.doi.org/10.30853/pa20240011.

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The essay is dedicated to exploring the art and culture of the Renaissance period, heralding Modern times, spanning from the mid-13th to the mid-16th century. This part of the work highlights the artistic achievements of the Middle East during the specified period, particularly in architecture, poetry (including the rise of humanism). Turning to European culture, the author specifically addresses the art of the Orthodox world (primarily focusing on church painting and, to a lesser extent, on the Ancient Russian Znamenny chant), noting its influence on the currents of the Renaissance. The author delves into the Gothic style, somewhat contrasting traditional notions of the Renaissance period (a kind of “counterculture”), across its various manifestations in visual arts, music and literature. Special attention is given to the central part of Renaissance art, tracing its evolution from the Early Renaissance (masterpieces of sculpture in Gothic cathedrals) to the Proto-Renaissance (paintings and frescoes by Italian masters, the emergence of psychologism in painting, the literary movement of Dolce stile nuovо marking the transition from the Middle Ages to Modern times, Ars Nova in musical art). The exploration of this theme will continue in the next part of the essay.

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Hamimed, Nadia. "Dorothea Tanning: Erotic and Dark Aesthetics." International Journal of Applied Linguistics and English Literature 11, no. 4 (July 31, 2022): 34–40. http://dx.doi.org/10.7575/aiac.ijalel.v.11n.4p.34.

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Inspired by the greatly stimulating psycho-dramas of gothic and erotic fiction and the revolutionary potential of Surrealism, Dorothea Tanning renovates images which aim to go into the nature of feminine (and infancy) sensual and corporal experience, falling down the frontier between the real world and imagination pro a smooth inventive world wherein all odds can imaginably exist. The most famous work of Tanning art is perhaps the one from the 1940s where the artist utilizes a specific vivid approach to represent eroticism. Nevertheless, in deviating from this method to a further theoretical way, the woman artist scatters her wish to depict the gothic just as she was illustrating a gothic tale, to remind the gothic appreciation of difference and disintegration via pensiveness. An erotic charge throbs throughout Tanning’s work; youthful girls’ clothes seem ragged and hair tackled a lavish life of its own as the boundary between inexperience and knowledge becomes blurred. A power rises above the specifically erotic and turns out to be a more broad desire to live in any of its demonstrations.

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Lanceva, A. M. "Exhibition Сzech and Кoman King Wenceslas IV: «Beautiful Style» of Gothic Art. On the 600th Anniversary of the Death of the Czech King." Concept: philosophy, religion, culture, no. 1 (July 7, 2020): 186–93. http://dx.doi.org/10.24833/2541-8831-2020-1-13-186-193.

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The article is devoted to the historical and cultural aspects of the development of Czech art in the late Middle Ages on the example of an exhibition held from August 16 to November 3 at Prague Castle, which was dedicated to the 600th anniversary of the death of the Czech and Roman King Wenceslas IV. The author of the article considers the significance of the Czech culture and sacred art in the context of the political and historical specifics of the development of medieval Bohemia and the features of the reign of Vaclav IV, who wasthe son of the Holy Roman Emperor and the Czech King Charles IV . Wenceslas IV is a complex and controversial figure in Czech history, who stood at the «crossroads» of epochs and cultures, around him various disputes persist in historiography up to our time. This article provides an overview of the nature of the sacred artifacts of culture and art presented at the exhibition «Czech and Roman King Wenceslas IV: «beautiful style» of Gothic art», as well as the characteristics of the artistic style , defined in terms of historical and cultural, internal and external political development of the Czech Republic, crosscultural dialogue of the Czech Republic with European countries on the background of the emerging religious controversy in the country. The work takes into account the features of the Late Gothic style in the Central Europe. On the example of the remarkable works of painting, sculpture, fragments of architectural monuments, decorative and applied art and manuscripts, first of all the monumental Wenceslas Bible, many of which were brought to Prague from various European Galleries and Castles of Poland, Germany, France, New York, as well as from private collections, can demonstrate the rise of Czech culture and art in the late XIV-early XV centuries, which was presented the process of cultural accumulation of the European style of the late Gothic, received Czech national artificial identity.

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Sperling, Joy. "Painting the Dark Side: Art and the Gothic Imagination in Nineteenth-Century American Art." Journal of American Culture 27, no. 4 (December 2004): 454–56. http://dx.doi.org/10.1111/j.1542-734x.2004.148_24.x.

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Kolich, Tomáš. "Haunting or Hallucination? Charlotte Perkins Gilman's ‘The Yellow Wallpaper’ and Contemporary Theories of Decorative Art and Psychiatry." Gothic Studies 22, no. 3 (November 2020): 266–84. http://dx.doi.org/10.3366/gothic.2020.0061.

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Even though Charlotte Perkins Gilman's story ‘The Yellow Wallpaper’ (1892) has received a lot of critical attention, there have been only a few attempts at the visual analysis of the wallpaper. This article approaches it as a case of the intricate pattern – an optically unpleasant and complicated ornament that can be depicted. This motif is present in gothic narratives (Poe's ‘Ligeia’, 1838), films (Robert Wise's The Haunting, 1963) as well as outside the genre. With a connection to wallpapers, it was discussed publicly during Gilman's time. This article reconstructs this discussion with examples from the contemporary interior decoration manuals, guidebooks for nursing and medical literature. The aim is to contextualize Gilman's story and to analyse the ways in which her descriptions of the wallpaper are similar to the rhetoric of the guidebooks. This context can enrich our knowledge about the period, reception of the story and possibly even about Gilman's sources of inspiration.

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Cambridge, Matt. "BECKET'S CROWN: ART AND IMAGINATION IN GOTHIC ENGLAND 1170-1300." Art Book 12, no. 3 (August 2005): 39–40. http://dx.doi.org/10.1111/j.1467-8357.2005.00573.x.

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MCKEVER, ROSALIND. "THE GOTHIC: DOCUMENTS OF CONTEMPORARY ART BY GILDA WILLIAMS (ED.)." Art Book 16, no. 1 (February 2009): 49. http://dx.doi.org/10.1111/j.1467-8357.2009.01010_11.x.

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Abad-Zapatero, Cele. "The Rose Windows of Gothic Cathedrals: Art, Symmetry and Beyond." Acta Crystallographica Section A Foundations and Advances 70, a1 (August 5, 2014): C1424. http://dx.doi.org/10.1107/s2053273314085751.

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The magnificent rose windows of the Gothic cathedrals have been the object of wonder and fascination to architects, artists and human beings alike, since they were used to emphasize the splendor of Gothic architecture, its lightness of forms and luminosity of interiors. There is considerable amount of literature on the theme including studies on the stone tracery and the stained glass, and a website created by a prominent author in the field (www.therosewindow.com, [1]) is an excellent resource. A brief reference in the classic book Symmetry by H. Weyl [2] suggested that rose windows were indeed excellent examples of planar point group symmetry. However, a rigorous and systematic study of this particular facet of these masterpieces has never been done. Preliminary results of the frequency of different symmetrical arrangements for more than five hundred windows have been recently published [3] and will be presented. In addition, detailed analysis of certain examples of rose windows and iconic macromolecular structures suggest that various symmetrical figures and entities that are part of our world can have symbolic meaning. They can be described by the rigorous framework of group theory in mathematics but they have also been used through history to convey different thoughts, insights and perceptions of the artists (and scientists) as designers and executors of the cosmological view of the times. A project aimed at extending these studies in the future will be presented.

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Carville, Geraldine. "Gothic Art in Ireland, 1169-1550: Euduring Vitality. Colum Hourihane." Speculum 80, no. 2 (April 2005): 592–94. http://dx.doi.org/10.1017/s0038713400000579.

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Binski, Paul. "Observation and Image-Making in Gothic Art. Jean A. Givens." Speculum 81, no. 4 (October 2006): 1198–200. http://dx.doi.org/10.1017/s0038713400004565.

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Michasiw, Kim Ian. "Art of Darkness: A Poetics of Gothic (review)." Eighteenth-Century Fiction 8, no. 2 (1996): 308–9. http://dx.doi.org/10.1353/ecf.1996.0015.

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Bynum, Caroline Walker, and Michael Camille. "The Gothic Idol: Ideology and Image-Making in Medieval Art." Art Bulletin 72, no. 2 (June 1990): 331. http://dx.doi.org/10.2307/3045738.

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Yvard, Catherine. "The Gothic Ivories Project at the Courtauld Institute of Art." Sculpture Journal 23, no. 1 (January 2014): 98–100. http://dx.doi.org/10.3828/sj.2014.9c.

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Kavaler, Ethan Matt. "Gothic Wonder. Art, Artifice and the Decorated Style 1290–1350." Journal of the British Archaeological Association 169, no. 1 (January 2016): 141–43. http://dx.doi.org/10.1080/00681288.2016.1223408.

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Ryan, Laurel. "Parliamentary Gothic: The Art of History in Canada's Parliament Buildings." Mosaic: an interdisciplinary critical journal 52, no. 3 (September 2019): 137–60. http://dx.doi.org/10.1353/mos.2019.0031.

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Journal articles on the topic 'Gothic Art'

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