the painting, sculpture (Western sculpture), and architecture (Western architecture) characteristic of the second of two great international eras that flourished in western and central Europe during the Middle Ages. Gothic art evolved from Romanesque art and lasted from the mid-12th century to as late as the end of the 16th century in some areas. The term Gothic was coined by classicizing Italian writers of the Renaissance, who attributed the invention (and what to them was the nonclassical ugliness) of medieval architecture to the barbarian Gothic tribes that had destroyed the Roman Empire and its classical culture in the 5th century AD. The term retained its derogatory overtones until the 19th century, at which time a positive critical revaluation of Gothic architecture took place. Although modern scholars have long realized that Gothic art has nothing in truth to do with the Goths, the term Gothic remains a standard one in the study of art history.

Architecture was the most important and original art form during the Gothic period. The principal structural characteristics of Gothic architecture arose out of medieval masons' efforts to solve the problems associated with supporting heavy masonry ceiling vaults (vault) over wide spans. The problem was that the heavy stonework of the traditional arched barrel vault and the groin vault exerted a tremendous downward and outward pressure that tended to push the walls upon which the vault rested outward, thus collapsing them. A building's vertical supporting walls thus had to be made extremely thick and heavy in order to contain the barrel vault's outward thrust.

Medieval masons solved this difficult problem about 1120 with a number of brilliant innovations. First and foremost they developed a ribbed vault, in which arching and intersecting stone ribs support a vaulted ceiling surface that is composed of mere thin stone panels. This greatly reduced the weight (and thus the outward thrust) of the ceiling vault, and since the vault's weight was now carried at discrete points (the ribs) rather than along a continuous wall edge, separate widely spaced vertical piers to support the ribs could replace the continuous thick walls. The round arches of the barrel vault were replaced by pointed (Gothic) arches which distributed thrust in more directions downward from the topmost point of the arch.

Since the combination of ribs and piers relieved the intervening vertical wall spaces of their supportive function, these walls could be built thinner and could even be opened up with large windows or other glazing. A crucial point was that the outward thrust of the ribbed ceiling vaults was carried across the outside walls of the nave, first to an attached outer buttress and then to a freestanding pier by means of a half arch known as a flying buttress. The flying buttress leaned against the upper exterior of the nave (thus counteracting the vault's outward thrust), crossed over the low side aisles of the nave, and terminated in the freestanding buttress pier, which ultimately absorbed the ceiling vault's thrust.

These elements enabled Gothic masons to build much larger and taller buildings than their Romanesque predecessors and to give their structures more complicated ground plans. The skillful use of flying buttresses made it possible to build extremely tall, thin-walled buildings whose interior structural system of columnar piers and ribs reinforced an impression of soaring verticality.

Three successive phases of Gothic architecture can be distinguished, respectively called early, High, and late Gothic.

This first phase lasted from the Gothic style's inception in 1120–50 to about 1200. The combination of all the aforementioned structural elements into a coherent style first occurred in the Île-de-France (the region around Paris), where prosperous urban populations had sufficient wealth to build the great cathedrals (cathedral) that epitomize the Gothic style. The earliest surviving Gothic building was the abbey of Saint-Denis in Paris, begun in about 1140. Structures with similarly precise vaulting and chains of windows along the perimeter were soon begun with Notre-Dame de Paris (begun 1163) and Laon Cathedral (begun 1165). By this time it had become fashionable to treat the interior columns and ribs as if each was composed of a bunch of more slender parallel members. A series of four discrete horizontal levels or stories in the cathedral's interior were evolved, beginning with a ground-level arcade, over which ran one or two galleries (tribune, triforium), over which in turn ran an upper, windowed story called a clerestory. The columns and arches used to support these different elevations contributed to the severe and powerfully repetitive geometry of the interior. Window tracery (decorative ribwork subdividing a window opening) was also gradually evolved, along with the use of stained (coloured) glass in the windows. The typical French early Gothic cathedral terminated at its eastern end in a semicircular projection called an apse. The western end was much more impressive, being a wide facade articulated by numerous windows and pointed arches, having monumental doorways, and being topped by two huge towers. The long sides of the cathedral's exterior presented a baffling and tangled array of piers and flying buttresses. The basic form of Gothic architecture eventually spread throughout Europe to Germany, Italy, England, the Low Countries, Spain, and Portugal.

Early English Gothic churches differed in several respects from their French counterparts. They had thicker, heavier walls that were not much changed from Romanesque proportions; accentuated, repeated moldings on the edges of interior arches; a sparing use of tall, slender, pointed lancet windows; and nave piers consisting of a central column of light-coloured stone surrounded by a number of slimmer attached columns made of black purbeck marble.

The second phase of Gothic architecture began with a subdivision of the style known as Rayonnant (AD 1200–80) on the Continent and as the Decorated Gothic (AD 1300–75) style in England. This style was characterized by the application of increasingly elaborate geometrical decoration to the structural forms that had been established during the preceding century.

In France the Rayonnant style evolved about 1280 into an even more decorative phase called the Flamboyant style, which lasted until about 1500. In England a development known as the Perpendicular style lasted from about 1375 to 1500. The most conspicuous feature of the Flamboyant Gothic style is the dominance in stone window tracery of a flamelike S-shaped curve.

In the Flamboyant style wall space was reduced to the minimum of supporting vertical shafts to allow an almost continuous expanse of glass and tracery. Structural logic was obscured by the virtual covering of the exteriors of buildings with tracery, which often decorated masonry as well as windows. A profusion of pinnacles, gables, and other details such as subsidiary ribs in the vaults to form star patterns further complicated the total effect.

By the late Gothic period greater attention was being given to secular buildings. Thus, Flamboyant Gothic features can be seen in many town halls, guild halls, and even residences. There were few churches built completely in the Flamboyant style, attractive exceptions being Notre-Dame d'Épine near Châlons-sur-Marne and Saint-Maclou in Rouen. Other important examples of the style are the Tour de Beurre of Rouen Cathedral and the north spire of Chartres. Flamboyant Gothic, which eventually became overly ornate, refined, and complicated, gave way in France to Renaissance forms in the 16th century.

In England the parallel Perpendicular Gothic style was characterized by a predominance of vertical lines in the stone tracery of windows, an enlargement of windows to great proportions, and the conversion of the interior stories into a single unified vertical expanse. The typical Gothic pointed vaults were replaced by fan vaults (fan-shaped clusters of tracery-like ribs springing from slender columns or from pendant knobs at the centre of the ceiling). Among the finest examples of the Perpendicular Gothic style are Gloucester Cathedral (14th–15th centuries) and King's College Chapel, Cambridge (1446–1515).

Monumental sculptures assumed an increasingly prominent role during the High and late Gothic periods and were placed in large numbers on the facades of cathedrals, often in their own niches. In the 14th century, Gothic sculpture became more refined and elegant and acquired a mannered daintiness in its elaborate and finicky drapery. The elegant and somewhat artificial prettiness of this style was widely disseminated throughout Europe in sculpture, painting, and manuscript illumination during the 14th century and became known as the International Gothic style. An opposite trend at this time was that of an intensified realism, as displayed in French tomb sculptures and in the vigorous and dramatic works of the foremost late Gothic sculptor, Claus Sluter.

Gothic sculpture evolved into the more technically advanced and classicistic Renaissance style in Italy during the 14th and early 15th centuries but persisted until somewhat later in northern Europe.

Manuscript illumination was superseded by printed illustrations in the second half of the 15th century. Panel and wall painting evolved gradually into the Renaissance style in Italy during the 14th and early 15th centuries but retained many more of its Gothic characteristics until the late 15th and early 16th centuries in Germany, Flanders, and elsewhere in Northern Europe.