Gothic painting in the Catalan-speaking lands between the 14th and 15th centuries
Bibliographic record
Abstract
Gothic painting in the Catalan-speaking lands evolved over a dense fabric left by 13th century art, which had gradually shed its Byzantine legacies. By the year 1300, the Byzantine model had clearly become a thing of the past, murals were still the primary technique and panel and miniature paintings were beginning to gain ground. Over the magnificent backdrop of the reign of Jaume II, the second quarter of the 14th century became a golden age for the Catalan Gothic and a foundational period for the subsequent painting tradition.The workshop of Ferrer Bassa, who was cognizant of the culture of Giotto and his Tuscan colleagues, received commissions from the court, while the art cultivated in Pisa and Siena was being interpreted by several studios of extraordinary interest in the Kingdom of Mallorca. The Italianising profile of painting survived the bubonic plague (1348), although painters like Destorrents, the Serra brothers, Valldebriga and Llorenc Saragossa were taking numerous of its aspects in new directions. In the last few decades of the 14th century, the expectations of local studios grew and the number of centres capable of producing quality painting multiplied. Barcelona remained prominent with Lluis Borrassa, Guerau Gener, Joan Mates and Jaume Cabrera, but it lost its hegemony as Valencia summoned an indisputable series of leading figures, including Pere Nicolau, Gherardo Starnina, Marzal de Sax, the Goncal Perises, Miquel Alcanyis and Jaume Mateu, who gave prominence to the international Gothic, which was also practised by the schools and studios in Castellon, Morella, Tortosa, Tarragona, Lleida, Girona, Perpignan and Mallorca. Based on the latest and most significant contributions to the subject, this article will survey the most famous painting from a highly creative period, which takes us from 1300 until the early decades of the 15th century.
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How this classification was reachedexpand
Full frame machine prediction
Teacher imitationNot calibrated prevalence, not ground truth. Human validation pending. The Gemma side is a direct model label for every work in the frame, read from the title-only record. The Codex side is a classifier learned from the 10,348 direct Codex labels and calibrated to design-weighted sample rates; fields without enough sample support carry no Codex call. Candidate is the union of the two sides; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels.
Distilled classifier scores by category (both heads)
| Category | Codex | Gemma |
|---|---|---|
| Metaresearch | 0.001 | 0.001 |
| Meta-epidemiology (narrow) | 0.001 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.001 | 0.001 |
| Science and technology studies | 0.004 | 0.003 |
| Scholarly communication | 0.006 | 0.001 |
| Open science | 0.001 | 0.003 |
| Research integrity | 0.001 | 0.001 |
| Insufficient payload (model declined to judge) | 0.008 | 0.002 |
Machine scores (provisional)
The two teacher heads of the student model, read on this work. A score orders the frame for review; it never asserts a category, and the validation status ships verbatim with every row.
Baseline scores from an immature model (maturity gate not passed, 7 training rounds). Scores rank; they never assert a category.
score_only:v0-immature-baseline · verbatim from the scoring run: score_only means the number may rank works, and no category label ships from itClassification
machine, unvalidatedMachine predicted; a candidate call from one source (direct Gemma or distilled Codex), not a consensus.
How this classification was reached, model by model and score by score, is at the end of the page under "How this classification was reached".