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Auswahl der wissenschaftlichen Literatur zum Thema „Gothic Sculpture“
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Zeitschriftenartikel zum Thema "Gothic Sculpture"
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Holladay, Joan A. „Encounter: Gothic Sculpture in America“. Gesta 53, Nr. 2 (September 2014): 121–24. http://dx.doi.org/10.1086/677322.
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Čehovský, Petr. „Význam raně renesanční architektonické skulptury na lombardské a moravské umělecké periferii“. Kultúrne dejiny 14, Nr. 2 (2023): 132–61. http://dx.doi.org/10.54937/kd.2023.14.2.132-161.
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This case study examines the importance of artistic periphery in the field of early Renaissance architectural sculpture in the years circa 1480 – 1550. The Renaissance style spread to Central Europe especially from Italy. In the older historical art literature opinions often emerged that Central European stonemasons did not understand the principles of Italian Renaissance art, and because of this misunderstanding they combined Renaissance style with Gothic. The author has undertaken long-lasting terrain research of early Renaissance architectural sculpture in one Central European and one Italian region of artistic periphery: the Moravian part of the Dyje valley and Val Camonica in Lombardy. In both regions were very elaborately stylistically examined stone decorations of architecture in the years circa 1480 – 1550. When the information about client´s social status, travel itinerary was known, also the influence of client on the style of architectural culpture was researched. On the basis of terrain research, the author comes to the conclusion that stonemasons in the Moravian part of the Dyje valley in the time of early Renaissance created architectural sculptures in the same styles that Italian artists in Val Camonica did: Romanesque Renaissance, a mixed style combining Gothic with Renaissance, early Renaissance architectural sculptures closely following the antique models, early Renaissance architectural sculptures created as an innovative modification of antique models.
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Bazhenova, Olga D. „Sculpture of the Christ of Sorrows from Belarus“. Vestnik of Saint Petersburg University. Philosophy and Conflict Studies 39, Nr. 1 (2023): 181–92. http://dx.doi.org/10.21638/spbu17.2023.115.
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The article discusses the history and style, the levels of the addition of the cult of the statue of the Christ of Sorrows (also known as the Man of Sorrows) from the Holy Trinity Church in the town of Ros’ in Belarus (Grodno Region). This church is a well-known sanctuary of Christ of Sorrows, a place of worship for believers from all over Belarus and other countries. Based on the analysis of archival documents, the issue of dating the sculpture within the boundaries of 1611–1618 has been resolved and its Neo-Gothic style, which developed in the symbiosis of the late Renaissance and early Baroque, with the Neo-Gothic accent characteristic for the early 17th century, which was considered the “new style” in Northern Europe at that time, has been determined. The sculpture was a reflection of the concept of Andachtsbild — a specific genre of art, the purpose of which is to excite the pious thoughts and intentions of the believer. Today, a sufficient number of sculptures of the Christ of Sorrows are known in museums and the existing churches of Belarus. There are even more indications of their presence in archival documents, both in Catholic and Orthodox shrines. This material is intended to show the meanings that affirm the obligatory nature of the images of the Christ of Sorrows in Eastern European art and the inevitability of its appearance (acceptance) at certain points in a large area from Western Europe to Eastern Europe in historical time. Sculpture in Ros’ is that unique example of a transitional time, when the art of Eastern Europe turned to the creation of early Baroque forms, synthesizing the forms of Gothic and Renaissance (Mannerism) in a certain conceptual direction of internal meditative practice, personal prayer.
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Kahn, Deborah. „Gothic Sculpture, 1140-1300.Paul Williamson“. Speculum 75, Nr. 1 (Januar 2000): 260–61. http://dx.doi.org/10.2307/2887489.
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Long, Jane C., und Anita Fiderer Moskowitz. „Italian Gothic Sculpture, c. 1250-1400“. Sixteenth Century Journal 32, Nr. 3 (2001): 807. http://dx.doi.org/10.2307/2671531.
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Paju, Risto. „Ein Fund in der Museumssammlung. Ein Heiliger Jakobus aus Kalkstein in der Sammlung behauener Steine des Tallinner (Revaler) Stadtmuseums“. Baltic Journal of Art History 12 (08.12.2016): 125. http://dx.doi.org/10.12697/bjah.2016.12.07.
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The Collection of Ashlars at the Tallinn City Museum includes a sculpture that stands 52.5 cm tall and is hewn from Lasnamägi limestone (Abb. 1). It depicts a slender man in a long robe, with a staff and travel bag around his neck. The statue has been seriously damaged. In addition to the broken front, its head is also missing – all that has survived is part of its beard. The goal of the article is to more closely examine the sculpture, which has not received any attention to date, in order to determine who it depicts, where it could be been located, and examine the surviving traces of paint. The primary motivation for writing the article is the fact that very few medieval three-dimensional stone sculptures have survived in Estonia. Also, this figure has not been dealt with or even mentioned in earlier writings. It can be said that, regardless of the damage it has suffered, the sculpture is complete enough to determine who is depicted. As stated above, the man has a walking stick or staff in his right hand and, based on the surviving fragments, a book in his right hand. On the partially surviving bag, we see the image of a scallop (Abb. 2). The staff and scallop tell us that this is a figure of St James. The sculpture is gothic in style, and based thereon, it can be dated back to the 15th or early 16th century. The sculptural material – Lasnamägi limestone – arouses attention. Where was this sculpture to be placed? We cannot dismiss the fact that the figure of the saint comes from a sacral building, but there could also have been saints in residential buildings, for example, on exterior facades or somewhere indoors. In summary, one must admit that the original location of the sculpture can only be speculated upon and definite answers are not possible. However, what is certain is that this is the work of a skilled master. Regardless of the fact that Lasnamägi limestone is not the best sculptural material, the work is finely hewn and well-proportioned. The sculpture is now on display in the new Estonian National Museum building.
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Herráez Ortega, María Victoria. „La catedral gótica de León. El inicio de la construcción a la luz de nuevos datos y reflexiones sobre la escultura monumental“. Estudios humanísticos. Geografía, historia y arte, Nr. 22 (11.02.2021): 183. http://dx.doi.org/10.18002/ehgha.v0i22.6833.
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<span>The monumental sculpture of León's Cathedral has been traditionally dated in accordance with the cronology attributed to the building. The documents which have been recently dealt with from the Cathedral's archive have elicited a new dating, bringing forward the time of the the sculptors' work. This fact allows us to state the beginning of the Gothic construction in the first half of the 13'h century, probably before the death of bishop Martín Rodríguez (d. 1242).</span>
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Horner, Avril, und Sue Zlosnik. „Agriculture, Body Sculpture, Gothic Culture: Gothic Parody in Gibbons, Atwood and Weldon“. Gothic Studies 4, Nr. 2 (November 2002): 167–77. http://dx.doi.org/10.7227/gs.4.2.7.
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Pinkus, Assaf. „Imaginative Responses to Gothic Sculpture: the Bamberg Rider“. Viator 45, Nr. 1 (Januar 2014): 331–60. http://dx.doi.org/10.1484/j.viator.1.103794.
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Lutz, Gerhard. „Recent Research on Late Gothic Sculpture in Germany“. Speculum 80, Nr. 2 (April 2005): 494–502. http://dx.doi.org/10.1017/s0038713400000075.
Der volle Inhalt der QuelleDissertationen zum Thema "Gothic Sculpture"
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Marx, Nadia Lares. „Images of Adam and Engagements with Antiquity in Romanesque and Gothic Sculpture“. Thesis, Harvard University, 2016. http://nrs.harvard.edu/urn-3:HUL.InstRepos:33493288.
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In the abundant literature on the afterlife of classical forms in the Middle Ages, medieval “classicism” has generally been understood as a series of stylistic borrowings and iconographic quotations, occurring as either isolated instances of individual genius or as the result of a momentary cultural flourishing—a “renascence” to use Erwin Panofsky’s term. This dissertation reconfigures this discourse on antiquity and the Middle Ages. It frames medieval classicism as a set of expressive possibilities that encode and transmit culturally contingent meaning, arguing that classical models were invoked selectively by artists, in concert with a range of other representational modes, in order to communicate complex messages to an audience sensitive to differences in style. Presented as a series of case studies, it examines three sculptural representations of Adam and the Creation narrative from the Romanesque and Gothic periods in Italy and France, considering them as key sites for medieval engagement with the art of antiquity. The evocation of antiquity, effected through material and formal assimilations of sculpted objects to ancient artifacts, functioned as a rhetorical device in Romanesque and Gothic sculpture, constructing frameworks of meaning around a given object. This dissertation examines the particular character and purpose of such evocations in images of Adam from the cathedral churches of Modena, Paris and Auxerre, offering new interpretations of three important monuments in the history of medieval sculpture, engaging with landmark studies in medieval classicism, and reconsidering attitudes towards the public display of nudity in the centuries preceding the Renaissance, the period when, it is generally accepted, it became a part of common artistic parlance.History of Art and Architecture
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Plein, Irene. „Die frühgotische Skulptur an der Westfassade der Kathedrale von Sens“. Münster : Rhema, 2005. http://catalog.hathitrust.org/api/volumes/oclc/61766567.html.
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Benker, Maximilian. „Ulm in Nürnberg Simon Lainberger und die Bildschnitzer für Michael Wolgemut /“. Weimar : VDG, Verlag und Datenbank für Geisteswissenschaften, 2004. http://catalog.hathitrust.org/api/volumes/oclc/57729582.html.
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Harwood, Jarel M. „.(In|Out)sider$“. BYU ScholarsArchive, 2014. https://scholarsarchive.byu.edu/etd/3967.
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This thesis explores the insider/outsider dynamic experienced by individuals as they enter diverse social situations. The shift from insider to outsider is evoked through an art installation of 18 sculptures drawing influence from "goth" subculture, as the viewer enters and interacts with the art space. The subjects of culture and identity are discussed as they pertain to insider/outsider status.
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Drapeau, Samuel. „L'église Saint-Michel, la fabrique d'un monument : étude historique, artistique et archéologique de l'église Saint-Michel de Bordeaux“. Thesis, Bordeaux 3, 2016. http://www.theses.fr/2016BOR30041.
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L’église Saint-Michel de Bordeaux est construite à la fin du Moyen Âge au centre d’une paroisse urbaine très dynamique. L’activité portuaire et commerciale fait vivre de nombreux artisans et enrichit les puissants marchands du quartier de la Rousselle. Ils sont investis dans le gouvernement de la commune et financent copieusement le chantier de leur église paroissiale. Leurs pratiques pieuses et leur activité à la tête de l’administration de la fabrique et des confréries sont représentatives de la religion civique à la fin du Moyen Âge. L’église accueille depuis la fin du XVe siècle un collège de prêtres-bénéficiers, au service des nombreuses fondations pieuses et des confréries installées dans les chapelles latérales. Elles sont construites durant le second chantier gothique, qui met en œuvre à partir du second quart du XVe siècle une vaste église flamboyante de plan basilical. Celle-ci succède à une première église gothique menée à son terme durant le XIVe siècle selon un parti-pris architectural de type « halle ». Le chantier de la cathédrale, qui introduit à Bordeaux les formes du gothique rayonnant du Nord de la France, est une source d’inspiration à Saint-Michel, dans le domaine de la modénature et de la sculpture monumentale. Le chantier flamboyant voit l’arrivée de maîtres-maçons dont l’œuvre a pu être identifiée. Elle se réfère aux chantiers normands, parisiens ou financés par le roi de France. Les Lebas de Saintes apportent leur culture artistique et leur technique à l’accomplissement du transept, à la conception de la nef et du clocher isolé. La faible influence de l’œuvre de Saint-Michel sur la création artistique locale est compensée par le rayonnement de son clocher-tour, un des plus hauts clochers du royaume. Son chantier exceptionnel est très bien renseigné par 11 années de comptes de la fabrique. Ils illustrent les conditions de travail et l’équipement nécessaire à la construction à grande hauteur. Un des autres chefs-d’œuvre de l’église, le portail nord, est probablement réalisé vers 1520 par Imbert Boachon, maître-maçon, imagier, menuisier, selon la nature des travaux et selon les villes ou il travaille. Aujourd’hui, la silhouette de l’église et du clocher, tous deux isolés au milieu de plusieurs places, ne reflète plus totalement la morphologie de l’œuvre médiévale. Des faiblesses structurelles obligent les hommes du XIXe siècle à reconstruire le chevet. Le clocher est rénové par Paul Abadie et l’église reçoit une esthétique gothique influencée par l’archéologie monumentale et les doctrines de la restauration patrimoniale de l’époqueThe church of St Michael of Bordeaux has been built in the late Middle Ages, in a very dynamic urban parish. The fluvial and commercial activities of the port generate work for craftsmen and enrich the powerful merchants from the borough of La Rousselle. These merchants are invested in the communal government and finance the building of their parish church. Their pious practices and their activity at the head of the parish fabric and friaries are good examples of the late medieval civic religion. From the end of the fifteenth century, the church receives a college of priest provided by religious benefits. They are in the service of many pious foundations and friaries which are established in the lateral chapels. These chapels are built during the second gothic construction, which makes a big Flamboyant style church with the plan of a basilica. This building follows a first gothic church, conducted at its term during the fourteenth century in accordance to a “halle” architectural volume. The construction of the cathedral of Bordeaux, which introduces the gothic style from the north of France, is an inspiration for St Michael, in the domain of modenature and monumental sculpture. The Flamboyant construction induces the arrival of some master mason, whose work can be identified. That work is influenced by Norman, Parisian and French king’s financed buildings. The Lebas from Saintes give their artistic culture and their technique to the accomplishment of the transept, to the conception of the nave and the isolated bell tower. The low influence of the work of St Michael of Bordeaux on the local artistic creation is balanced with the bell tower, one of the tallest in the French kingdom. Its constructions are well informed thanks to an eleven years’ register for the fabric accounting. It illustrates the work conditions and the necessary equipment for high tall building. One of the masterworks of the church, the north portal, is probably made around 1520 by Imbert Boachon, master mason, sculptor or joiner according to the kind of the work or the town where he works. Nowadays, the silhouette of the church and the bell tower are isolated in the middle of many places and are not totally representative of the medieval made morphology. Some structural frailties oblige the nineteenth century men to rebuild the chevet. The bell tower is renovated by Paul Abadie and the church receives a gothic aesthetic which is influenced by monumental archaeology and the patrimonial restorations doctrines of that period
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Boisset, Thermes Sandrine. „La sculpture en Savoie : ateliers, artistes et commanditaires à Chambéry et dans sa région : vers 1480 - vers 1530“. Thesis, Université Grenoble Alpes (ComUE), 2015. http://www.theses.fr/2015GREAH006.
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Malgré la rareté des sources à Chambéry et dans sa région, les critères d’existence d’un foyer artistique dans la ville et ses alentours au tournant des XVe et XVIe siècles peuvent être réunis. Un important corpus d'une quarantaine de sculptures produit au cours de quelques décennies entre 1480 et 1530 atteste l'activité locale de sculpteurs. L'analyse des œuvres permet de distinguer l'activité de plusieurs ateliers et d'envisager un mode de production. De nombreuses occasions d'échanges entre milieux artistiques chambériens, genevois et septentrionaux peuvent aussi être mises en lumière. Dans cet espace, autour de 1500, la présence d'une clientèle variée et un contexte religieux dynamique ont favorisé le développement d'un langage artistique originaleDespite the paucity of documentary evidence arguing in favour of the existence of much sculpting activity in and near Chambéry, the criteria needed to establish the presence of an artistic hub in the town and its vicinity at the turn of the XV and XVI centuries can be shown. The existence of a large body of sculptures, consistent both in style and iconography, produced over a few decades between 1480 and 1530, is testament to the activity of sculptors in the region. An analysis has led to identifying the activity of various artists' workshops, and to understanding of the way in which these works were produced. Many opportunities for contact between the art worlds of Chambéry, Geneva and Northern countries can also be identified. Within this space, a varied clientele as well as a dynamic religious context have supported the development of an original local artistic production
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Gorio, Gigliola. „La scultura trecentesca in marmo nella Lombardia orientale. Una ricognizione nelle province di Brescia, Mantova e Cremona“. Doctoral thesis, Università degli studi di Trento, 2022. http://hdl.handle.net/11572/327316.
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The project aims to develop a corpus of the 14th century marble sculptures in Brescia, Mantua and Cremona.
After mapping the materials localized in these territories, which was made possible thanks to the inventories of the respective Superintendencies and Dioceses, as well as the bibliography, it was possible to collect a large number of testimonies. The resulting archival investigation allowed to refine the research on the history of the pieces, to update and correct the data already reported in bibliography and to investigate unpublished works. From a methodological point of view it was considered appropriate to proceed with the stylistic analysis of the sculptures in parallel with the identification of contexts, origins, authors, models and influences. This made it possible to identify and deepen a critical chapter, the history of Gothic sculpture in this part of Lombardy, which until a few decades ago was rather neglected by studies.
The development of a catalog, divided into territorial sections, aims to be an easy reference tool for scholars of Italian sculpture.
Several unpublished works have emerged in Brescia and in its province. Some hypotheses have been advanced about the path of the sculptor Delaido da Lodi, active in 1301 in Gargnano, and about the artworks in and from Brescia realized by the Master of Sant’Anastasia.
The Mantua area, which returned the most significant results, was analyzed from the beginning of the fourteenth century to the eve of the dalle Masegne season. During this period of time, various artists, mainly from Venice, were active in the city. Among them, the sculptor Andrea da San Felice, the anonymous artist baptized here with the name of "Maestro di Piero Maser" and Antonio da Mestre. Some of the sculptures collected can be related to Lombard artists such as the "Maestro di Viboldone", to whom a new sculpture is attributed, and Guido Frisoni, an artist mentioned in some documents preserved in the State Archive of Mantua, to whom it is now possible to trace the "Madonna with Child" in Grazie di Curtatone, thanks to the interpretation of the epigraph placed at the base.
The Cremona area closes the catalogue, which stands out for the quality of the surviving works, at the expense of quantity. The famous reliefs preserved in the church of San Bassiano in Pizzighettone are exemplary of the formal refinement of the survivals of this territory.Il progetto si è posto l'obiettivo di elaborare un corpus delle sculture del XIV secolo in marmo conservate nelle province di Brescia, Mantova e Cremona. Grazie all’iniziale mappatura dei materiali nei singoli territori, realizzata passando in rassegna gli inventari delle rispettive Soprintendenze e Diocesi, oltre alla bibliografia, è stato possibile raccogliere un cospicuo numero di testimonianze. La conseguente indagine archivistica ha consentito di perfezionare le ricerche sulla storia conservativa dei singoli pezzi, di aggiornare e correggere i dati già segnalati in bibliografia e di indagare sugli inediti. A ciò si è aggiunta l’analisi stilistica delle sculture, che è avvenuta parallelamente all’individuazione di contesti, provenienze, autori, modelli ed influenze. Ciò ha permesso di individuare e fare il punto su un capitolo critico, la storia della scultura gotica in questi territori della Lombardia, che fino a pochi decenni fa era poco frequentato dagli studi. Numerosi sono, inoltre, gli spunti di ricerca emersi per il futuro. Per questo motivo è stato elaborato un catalogo, che ha l’obiettivo di essere uno strumento di agile consultazione per gli studiosi di scultura italiana. Sono emerse diverse opere inedite nel bresciano, su cui si è cercato di far luce. Alcune ipotesi sono state avanzate circa il percorso dello scultore Delaido da Lodi, attivo nel 1301 a Gargnano, e riguardo alle testimonianze bresciane del Maestro di Sant’Anastasia. Il territorio mantovano, che ha restituito i risultati più significativi, è stato analizzato dagli esordi del Trecento fino alla vigilia della stagione dei dalle Masegne. Durante questo lasso di tempo furono attivi in città diversi artisti, principalmente provenienti da Venezia, su cui ora è possibile ragionare. Tra essi emergono lo scultore Andrea da San Felice, l'anonimo artista battezzato in questa sede con il nome di "Maestro di Piero Maser" e Antonio da Mestre. Di origine lombarda furono invece il Maestro delle sculture di Viboldone, a cui in questa sede è attribuita una nuova opera, e Guido Frisoni da Como, artista citato in alcuni documenti conservati a Mantova, in Archivio di Stato, a cui è ora possibile ricondurre la 'Madonna con Bambino' di Grazie di Curtatone grazie all'interpretazione dell'epigrafe posta alla base dell'opera. Chiude il lavoro il territorio di Cremona, che si distingue per la qualità delle opere superstiti, a discapito della quantità. Esemplificativi della ricercatezza formale delle sopravvivenze di questo territorio sono i celebri rilievi che si conservano nella chiesa di San Bassiano a Pizzighettone.
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Doudeau-Cheutin, Claudie. „L'aile Louis XII du Château de Blois , son décor sculpté à l'aube de la Renaissance“. Thesis, Tours, 2012. http://www.theses.fr/2012TOUR2032.
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Devenu soudainement roi de France en 1498, Louis XII entreprend de reconstruire le château familial de Blois. L'aile Louis XII du château royal présente un programme iconographique sculpté exceptionnel réalisé de 1498 à 1503 environ, qui comporte plus de deux cents culots, gargouilles, masques grotesques, rosaces, monogrammes et emblèmes, entourant la figure équestre du roi et le décor de l'escalier. Les sources manuscrites relatives à la réalisation du décor sculpté ayant disparu presque en totalité, le parti pris a été de considérer dans la première partie les événements qui, du cadre historique aux restaurations des XIXe et XXe siècles, ont forgé l’identité actuelle du château. L'étude iconographique est abordée en seconde partie, incluant le décor sculpté du château de Blois, les enjeux ignorés du décor du grand escalier et de la voûte en relation avec la figure équestre, l'emblématique royale de Louis XII. La troisième partie permet d’insérer le décor sculpté dans le contexte de création de la sculpture dans les chantiers et ateliers de 1450 à 1520. De la seconde moitié du XVe siècle à 1520As soon as he become king of France in 1498, Louis XII undertake to rebuild the family castle of Blois. The Louis XII wing of the royal castle of Blois shows an exceptional iconographic and carved program done from 1498 to about 1503, which consists of more than two hundred culots, gargoyles, grotesques, masks, medallions, monograms, and emblems, surrounding the equestrian statue of the king and the staircase. As the manuscript archives relating to the carvings have almost completely disappeared, the objective has been to consider firstly the historical events up until the restorations of the 19th and 20th century that have contribued to the current identity of the château. An iconographic study is approached in the second part, including the sculpted decoration of the château, the relationship between the decoration of the grand staircase and the vault with the equestrian statue. The third part relate to the role of the carved decoration within the artistic context of buiding sites and workshops between 1450 to 1520
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Pernuit, Claire. „Une relecture de la cathédrale de Sens : (1130-1550)“. Thesis, Dijon, 2015. http://www.theses.fr/2015DIJOL016.
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Cette thèse s’inscrit dans le prolongement d’un premier travail, mené dans le cadre du Master I, puis du Master II, sur l’iconographie des vitraux du XIIIe siècle de la cathédrale sénonaise. Suite à cette première étude, un constat s’est imposé : malgré l’étendue des travaux antérieurs, l’analyse de l’édifice du « premier maître », pour reprendre l’expression de Jacques Henriet, c’est-à-dire l’analyse du projet du XIIe siècle, l’étude de la chronologie du chantier, mais également des nombreuses modifications subies par la cathédrale métropolitaine au Moyen Âge, et plus particulièrement aux XIIIe et XIVe siècles, laissait place à des observations complémentaires. Au regard de l’ampleur de la tâche, la démarche devait alors prendre le sens d’une « relecture » de la cathédrale métropolitaine, c’est-à-dire une nouvelle lecture approfondie et systématique des données. L’étude se divise en trois parties permettant successivement la définition du contexte archéologique de la cathédrale métropolitaine, puis l’analyse de l’édifice du premier maître et les modifications apportées à ce projet aux XIIIe, XIVe et XVe siècles. La troisième et dernière séquence de ce travail, est conçue comme une tentative de « faire vivre » l’édifice médiéval, afin d’aborder les questions de la gestion de l’espace, de la circulation et de la place des images au seuil et au sein de la cathédraleThis research is an extension of a previous work, dedicated to the 13th-century stained-glass windows of the cathedral of Sens. Out of this first study was recognition that despite earlier initiated works and studies, the analysis of the building of the « First Master », to quote Jacques Henriet – that is, the chronology of the construction in the 12th and the modifications of its structure in the 13th, 14th and 15th century – was not fully achieved. The study is divided into three parts : the first two parts are dedicated to the archaeological context of the metropolitan church, the architectural analysis of the builing and the chronology of the construction (12th to 15th century) ; the third part is intended to understand the place of the monumental images and the light in the building, and how both clerical and lay could have reacted to them
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Fumanal, i. Pagès Miquel Àngel. „La pedra de Girona. L'esclat de l’escultura arquitectònica i cultual, 1300-1350“. Doctoral thesis, Universitat de Barcelona, 2019. http://hdl.handle.net/10803/669955.
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Vers 1300 Girona es veu influïda per un context sòcio-polític i artístic concret i molt favorable a “l’expansió” en termes econòmics, demogràfics i creatius. A banda del bon estat i creixement del poder econòmic i comercial de la Corona, la proliferació d’ordes religioses i la renovació de les seus episcopals i grans parròquies, especialment concentrada en la meitat nord del principal i tota la zona meridional del regne de França, propicien l’èxit de Girona i les seves pedreres. A partir del 1300, i amb seguretat fins a la pesta de 1348, el col·lectiu de pedrers és el grup professional més nombrós de la ciutat i, proporcionalment, a partir de les dades conegudes, un dels més importants de l’antiga Corona d’Aragó, superant els 180 noms diferenciats de pedrers actius en la primera meitat de segle. La immigració, i dins aquesta, la immigració de pedrers, és un dels eixos fonamentals per entendre l’evolució demogràfica de la Girona del segle XIV. L’acció del bisbe Arnau de Mont-rodon (†1348) propicià la construcció a la catedral d’una capella dedicada als quatre sants màrtirs Germà, Just, Sici i Paulí, els patrons dels picapedrers. Durant la primera meitat del segle XIV la realització de peces escultòriques amb pedra nummulítica i la seva exportació fora de Girona viu un moment d’esclat
sense precedents, comparable a una explosió de creativitat, productivitat i exportació. Això és degut a la coincidència de com a mínim quatre factors determinants: en primer lloc, la forta tradició de la ciutat en el treball de la pedra calcària local i el creixement urbanístic experimentat després de la guerra de 1285. En segon lloc, l’assumpció del material petri per part de la reialesa (i a través d’aquesta, de la noblesa i la burgesia) en la seva utilització en grans projectes funeraris i arquitectònics. Tercer, l’existència de mestres pedrers experimentats i capaços tècnicament de generar materials prefabricats per als projectes reials. I finalment en quart lloc, la disponibilitat d’una pedra amb molts matisos, colors i dureses, capaç de proveir conjunts harmònics, durables i policroms per a tot tipus de necessitats. La producció i l’exportació es donen en paral·lel en dos camps significatius: l’escultura funerària i l’escultura arquitectònica. Pel que fa a l’estandardització d’uns models concrets en escultura arquitectònica, aquesta també suposa la tria i repetició de dos motius fitomòrfics, els capitells de fulla de palma i de flor de lliri, que com a símbols, es troben íntimament lligats al tarannà de la cort de Jaume II, basada en la fe i la justícia. La predilecció pels textos atribuïts a Salomó (entre d’altres) per part del rei, i la influència d’alguns dels més alts consellers (per exemple Arnau de Vilanova i Ramon Llull) podrien ser un dels principals motius de l’aparició i propagació dels dits models. Les peces produïdes, tant les exportades com les de la mateixa Girona, segueixen un codi de mesures i proporcions que es mantindrà amb poques alteracions en el transcurs dels segles següents, amb diferències subtils. Al seu torn, i a diferència del que han dit alguns estudiosos, l’anàlisi dels conjunts conservats permet asseverar que existien unes normes “tàcites” entre els pedrers a l’hora d’aplicar els materials esculpits d’una o altra manera, i en aquest sentit es repeteix la diferenciació entre finestres i galeries o claustres. L’èxit en l’exportació massiva d’elements prefabricats fou possible mercès a la bona connexió viària terrestre de Girona vers els principals nuclis circumdants, així com les populoses ciutats de Barcelona i Perpinyà, pràcticament equidistants. El regnat de Jaume II coincideix amb l’impuls dels principals camins reials i la millora de llurs infraestructures, sobretot els ponts. Seguidament, la construcció d’una carretera de Girona al seu port natural, Sant Feliu de Guíxols, obre la capacitat exportadora per mar, i per tant, l’augment de la distància fins on els materials poden ser transportats amb certa rapidesa. Girona igualment pogué exportar des dels ports de Palamós, Castelló d’Empúries i Roses.Around 1300 Girona is influenced by a specific socio-political and artistic context, very favorable to "expansion" in economic, demographic and creative terms. However, the good state and growth of the Crown's economic and commercial power, the proliferation of religious orders and the renewal of its episcopal and grand parishes, especially concentrated in the northern half of the principal and throughout the southern part of the kingdom of France, are conducive to the success of Girona and its quarries. From 1300, and surely until the plague of 1348, the stonemasons group is the largest professional group in the city and, proportionally, from known data, one of the most important in the ancient Crown of Aragon, surpassing the 180 differentiated names of active stonemasons in the first half of the century. At that time, the production of sculpture pieces with nummulitic stone and their export outside of Girona saw an unprecedented moment of explosion, comparable to a rising of creativity, productivity and export. This is due to the coincidence of at least four determining factors: first, the strong tradition of the city in the work of local limestone and the urban development experienced after the war of 1285. Second, the the assumption of those stone materials by the royalty (and through it, the nobility and the bourgeoisie) in its use in large funerary and architectural projects. Third, the existence of experienced quarry masters and technically capable of producing precast materials for royal projects. And finally, the availability of a stone with many nuances, colors and hardness, capable of providing harmonic, durable and polychrome ensembles for all kinds of needs. Production and export are paralleled in two significant fields: funerary sculpture and architectural sculpture.
Bücher zum Thema "Gothic Sculpture"
1
Wyndham, Pope-Hennessy John. Italian Gothic sculpture. London: Phaidon Press, 2000.
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2
Pope-Hennessy, John Wyndham. Italian Gothic sculpture. New York: Vintage Books, 1985.
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3
W, Gillerman Dorothy, Hrsg. Gothic sculpture in America. New York: Garland Pub., 1989.
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4
Sauerländer, Willibald. Cathedrals and sculpture. London: Pindar Press, 1999.
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5
Victoria and Albert museum. Northern Gothic sculpture, 1200-1450. [London]: The Museum, 1988.
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6
Monique, Tahon-Vanroose, und Museum voor Schone Kunsten (Ghent, Belgium), Hrsg. Late Gothic sculpture: The Burgundian Netherlands. Ghent: Ludion Press, 1994.
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7
Rolf, Toman, Hrsg. The art of Gothic: Architecture, sculpture painting. Cologne: Konemann Verlagsgesellschaft, 1999.
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8
Wyndham, Pope-Hennessy John. Italian Renaissance Sculpture. 3. Aufl. Oxford: Phaidon, 1986.
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9
Lindley, Phillip. Gothic to Renaissance: Essays on sculpture in England. Stamford: P. Watkins, 1995.
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10
contributor, Jugie Sophie, Hrsg. La sculpture gothique: 1140-1430. Paris]: Hazan, 2020.
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1
Neville, Kristoffer. „Frederik II’s Gothic Neptune for Kronborg“. In Sculpture and the Nordic Region, 12–23. New York : Routledge, 2016.: Routledge, 2017. http://dx.doi.org/10.4324/9781315088242-2.
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2
Jung, Jacqueline E. „France, Germany, and the Historiography of Gothic Sculpture“. In A Companion to Medieval Art, 513–46. Hoboken, NJ, USA: John Wiley & Sons, Inc., 2019. http://dx.doi.org/10.1002/9781119077756.ch22.
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3
Feltman, Jennifer M. „The Afflicted Body of Job and the Aesthetic of Wholeness in Gothic Sculpture“. In The Routledge Companion to Art and Disability, 149–67. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003009986-12.
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4
Benítez Hernández, Patricia, und Iker López Consuegra. „3D Scanning of an Architectural Sculpture Using a Smartphone with LiDAR Sensor: The Case of the Late Gothic Helical Stair“. In Decoding Cultural Heritage, 293–318. Cham: Springer Nature Switzerland, 2024. http://dx.doi.org/10.1007/978-3-031-57675-1_13.
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5
Stoddard, Whitney S. „Late Gothic Sculpture“. In Art and Architecture in Medieval France, 335–42. Routledge, 2018. http://dx.doi.org/10.4324/9780429494130-33.
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6
Stoddard, Whitney S. „Early Gothic Sculpture and Painting“. In Art and Architecture in Medieval France, 153–64. Routledge, 2018. http://dx.doi.org/10.4324/9780429494130-17.
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7
Stoddard, Whitney S. „High Gothic Sculpture and Painting“. In Art and Architecture in Medieval France, 253–76. Routledge, 2018. http://dx.doi.org/10.4324/9780429494130-27.
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8
Jung, Jacqueline E. „Walking to heaven in gothic sculpture“. In Kunstgeschichte(n) : Festschrift für Stephan Albrecht, 12–26. University of Bamberg Press, 2023. http://dx.doi.org/10.20378/irb-92693.
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9
„TWO VALUES — GOTHIC SCULPTURE JAPANESE DESIGN BOOKS.“ In Composition, 135–42. University of California Press, 2023. http://dx.doi.org/10.2307/jj.8441755.16.
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10
„Secret Signals: The Meaning of Clothing in Sculpture“. In Early Gothic Column-Figure Sculpture in France, 17–104. Routledge, 2017. http://dx.doi.org/10.4324/9781315094762-2.
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