International Gothic

International Gothic is a period of Gothic art which developed in Burgundy, France and northern Italy in the late 14th and early 15th century. 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.

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. 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."

The important Bohemian version of the style developed in the court of Charles IV, Holy Roman Emperor in Prague, which for a brief period 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.

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