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1
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.
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Zorach, Rebecca, und William H. Forsyth. „The Pieta in French Late Gothic Sculpture: Regional Variations.“ Sixteenth Century Journal 27, Nr. 3 (1996): 879. http://dx.doi.org/10.2307/2544076.
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Catterson, Lynn. „Book Review: Italian Gothic Sculpture, c.1250-c.1400“. Forum Italicum: A Journal of Italian Studies 36, Nr. 1 (März 2002): 212–13. http://dx.doi.org/10.1177/001458580203600115.
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Freni, Giovanni. „Italian Gothic Sculpture, c. 1250-c. 1400. Anita Fiderer Moskowitz“. Speculum 78, Nr. 2 (April 2003): 576–78. http://dx.doi.org/10.1017/s0038713400169337.
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Gillerman, Dorothy. „The Pietà in French Late Gothic Sculpture: Regional Variations.William H. Forsyth“. Speculum 72, Nr. 1 (Januar 1997): 147–49. http://dx.doi.org/10.2307/2865894.
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Čechák, Tomáš, Tomáš Trojek, Radka Šefců, Štěpánka Chlumská, Anna Třeštíková, Marek Kotrlý und Ivana Turková. „The use of powdered bismuth in Late Gothic painting and sculpture polychromy“. Journal of Cultural Heritage 16, Nr. 5 (September 2015): 747–52. http://dx.doi.org/10.1016/j.culher.2014.12.004.
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Teijeira Pablos, María Dolores. „Acerca de la confusión de personalidades artísticas. El caso de Maestre Copín“. Estudios humanísticos. Geografía, historia y arte, Nr. 19 (09.02.2021): 303. http://dx.doi.org/10.18002/ehgha.v0i19.6767.
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<span>Several artists working with the same name in Castilian late Gothic sculpture have been traditionally identified as Diego Copín de Holanda. The article tries to separate each one basing on the documents that have been conserved. There are three artist in this case: Master Copín de Ver, working in León cathedral between 1474 and 1504. Master Francisco Copín, working in Burgos between 1482 and 1493 and Master Copín de Holanda, working in Toledo between b. 1500 and a. 1517. The documents about the León artist, now published, contribute to clarify this problem.</span>
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Nyborg, Ebbe. „The beginnings of Gothic ivory sculpture: recent discoveries in a group of Danish ivories“. Sculpture Journal 23, Nr. 1 (Januar 2014): 31–39. http://dx.doi.org/10.3828/sj.2014.4.
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Rodwell, Warwick, Jane Hawkes, Emily Howe und Rosemary Cramp. „The Lichfield Angel: A Spectacular Anglo-Saxon Painted Sculpture“. Antiquaries Journal 88 (September 2008): 48–108. http://dx.doi.org/10.1017/s0003581500001359.
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Excavation within the Gothic nave of Lichfield Cathedral in 2003 revealed three phases of masonry building ante-dating the Norman period. These are likely to relate to the church of St Peter, which Bede described in 731 as housing the timber shrine to St Chad, fifth bishop of Mercia (d 672). A rectangular, timber-lined pit found on the central axis of the building might represent a crypt or burial chamber beneath the shrine. Buried in a small pit alongside this were three fragments of a bas-relief panel of Ancaster limestone, carved with the figure of an angel. They comprise half of the left-hand end of a hollow, box-like structure that had a low-coped lid. This is interpreted as a shrine chest associated with the cult of St Chad. The sculpture, which was broken and buried in, or before, the tenth century, is in remarkably fresh condition, allowing for an in-depth analysis of its original painted embellishment and for an assessment of the monument in terms of its iconography and stylistic affinities, and thus the possible conditions of its production. It is argued that the surviving portion of the panel represents the archangel Gabriel, and that it is one half of an Annunciation scene.
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Hill, Judith. „Architecture in the Aftermath of Union: Building the Viceregal Chapel in Dublin Castle, 1801–15“. Architectural History 60 (2017): 183–217. http://dx.doi.org/10.1017/arh.2017.6.
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AbstractThe chapel in Dublin Castle, built between 1807 and 1815, was one of the most impressive ecclesiastical Gothic buildings of the pre-Pugin revival in the British Isles. It was commissioned by the viceregal establishment following the Act of Union between Great Britain and Ireland in 1801, and was closely associated with Church of Ireland objectives for post-Union Protestantism in Ireland. This essay investigates the patrons’ ambitions for the chapel, and discusses its design and execution by Francis Johnston, successor to James Gandon as the foremost architect of public buildings in Ireland. Reviewing the chapel within the context of the Union, the essay argues that the viceregal administration and the Church of Ireland were concerned to assert their authority and define their values, and that these were expressed in Gothic revival architecture which grafted progressive appreciation for medieval models onto Georgian taste, and in a comprehensive and unprecedented scheme of ecclesiastical sculpture. Ireland's political position within the Union was ambiguous, but it is argued here that the rebuilt chapel projected both unionist and imperialist gestures, and that, culturally, it was an expression of Britishness.
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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, Nr. 2 (04.04.2024): 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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Wolff, Martha. „Gothic Sculpture. Paul Binski. New Haven, CT: Yale University Press, 2019. viii + 287 pp. $55.“ Renaissance Quarterly 74, Nr. 2 (2021): 589–91. http://dx.doi.org/10.1017/rqx.2021.18.
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Reeve, Matthew M. „The Capital Sculpture of Wells Cathedral: Masons, Patrons and the Margins of English Gothic Architecture“. Journal of the British Archaeological Association 163, Nr. 1 (September 2010): 72–109. http://dx.doi.org/10.1179/174767010x12747977921047.
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John Steyaert. „Imported Images: Netherlandish Late Gothic Sculpture in England c. 1400–c. 1550 (review)“. Catholic Historical Review 95, Nr. 4 (2009): 831–33. http://dx.doi.org/10.1353/cat.0.0574.
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Thurlby, Malcolm. „The Lady Chapel of Glastonbury Abbey“. Antiquaries Journal 75 (September 1995): 107–70. http://dx.doi.org/10.1017/s0003581500072991.
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After the devastating fire of 1184, the Lady Chapel of Glastonbury Abbey was constructed on the site of the Old Church (Vetusta Ecclesia), the wattle church traditionally associated with Joseph of Arimathea. The lavish decoration of the chapel is frequently mentioned in the literature. In many cases authors emphasize the old-fashioned, Romanesque character of much of the ornament in contrast to the seemingly more progressive contemporary early Gothic mouldings of nearby Wells Cathedral. Nevertheless, it is generally recognized that the designer of Glastonbury Lady Chapel knew of the latest developments in French Gothic architecture as witnessed in his use of crocket capitals and sharply pointed arches in the vault. This juxtaposition of Romanesque and Gothic motifs has led to the categorization of the Lady Chapel as Transitional. Convenient as such a label may be as a term of reference in charting a purely typological evolution, it does little for our understanding of the use of some distinctly different elements in contemporary structures located in the same region. Is it the case that the patron and/or master mason of Glastonbury Lady Chapel are simply more conservative than at Wells Cathedral? Could Glastonbury Lady Chapel be consciously archaizing in an effort to emphasize the antiquity of the site? Should we perhaps think in terms of a traditional Benedictine monastic style at Glastonbury as opposed to an innovative style for the secular canons of Wells? Or is the rich decoration at Glastonbury Lady Chapel to be explained in a more general sense as an imitation of the art of church treasures? To address these questions the first part of this essay will examine the stylistic sources of the Lady Chapel. The meaning of the style of the Lady Chapel in the context of the beginnings of Gothic architecture in Britain will be discussed. Attention will then be turned to the sculpture of the Lady Chapel (Thurlby 1976a).
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Mohammad, Mahizan Hijaz, und Aznan Omar. „Colonial Architecture on Local History Through Glass Sculpture“. Idealogy Journal of Arts and Social Science 6, Nr. 1 (28.04.2021): 17–26. http://dx.doi.org/10.24191/idealogy.v6i1.250.
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The aim of this paper is to study the aspect of colonial building that relates to local history. The history of tin mining is to be acknowledged and understand as important to the local. Local history has been part of important aspect in a developing community. It signifies engagement of the link between the present and the past. It helps the community to learn about the events that has happened and in the Malaysian context, the history of the British colonial is the most relevant for it is visibility due to the architectural ruin that is on location. The method applied is Critical Self reflections and studio experimentation. Samples and images of location on site retrieved to study the visual aspect of the buildings and applied as part f the artwork. Artwork explorations are conducted to relate the material and techniques to the context of the study. The British occupation existed in Malaysia for more than two hundred years from 1795 until 1957. In Malaysia generally there are four typical colonial styles of architecture which are Moorish, Tudor, Neo Classic and Neo Gothic (A Ghafar Ahmad, 1997). The tin mining industry has brought merchant and workers to Central Perak such as Gopeng and Batu Gajah. According to (Syed Zainol Abidin Ibid,1995), during 1900 till 1940s, there are three architectural style that influenced the construction of commercial building and shop houses which are adaptation style, eclectic and Art Deco. However, after time the Colonial buildings have decayed and turn into ruins. The beauty and style of the Colonial architecture has inspired the researcher to study the building since it is visible in the surrounding central Perak and keeps an interesting story of the past. Working with glass, the researcher will fabricate the idea of colonial building and glass as a work of art.
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Yuliya Ivanovna, Arutyunyan. „Allegories of virtues and vices in the European art VIII–XVIII centuries“. Vestnik of Saint Petersburg State University of Culture, Nr. 2 (55) (2023): 102–9. http://dx.doi.org/10.30725/2619-0303-2023-2-102-109.
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The struggle of the forces of Good and Evil is one of the leading themes of European art of the Middle Ages, Renaissance, Baroque. Personifications of positive and negative qualities of a person are depicted in book miniatures, monumental paintings, mosaics and sculpture from the time of the Carolingians up to the XIX century. The victory of Virtues over Vices described in the «Psychomachy» by Aurelius Prudentius Clement functioned as subjects of the art of the book of the Carolingian and Ottonian eras, sculpture of the facades of Romanesque and Gothic churches, in memorial plastic and allegorical painting of the Renaissance and Baroque. Medieval art generates several variants of the interpretation of the plot – the battle of Virtues in the form of warrior maidens with bestial monsters – Sins, allegorical embodiment of the forces of good and evil in the form of animals, genre interpretation of the theme in the form of «everyday» scenes. The Renaissance tradition refers to the personifications of good and evil forces in monumental paintings (Giotto) and memorial plastics, often as a symbolic designation, subjects of Holy Scripture are used. In the XVII century, allegories of Virtues appear in scenes of triumphs and glorification of rulers, in the festive decoration of processions (P. P. Rubens), in monumental paintings (Pietro da Cortona), in decorative and applied art.
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Spitzer, Laura. „The Cult of the Virgin and Gothic Sculpture: Evaluating Opposition in the Chartres West Facade Capital Frieze“. Gesta 33, Nr. 2 (Januar 1994): 132–50. http://dx.doi.org/10.2307/767164.
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Dent, P., und E. Napione. „Reading and Writing at the V&A: an episode in the collection of Italian Gothic sculpture“. Journal of the History of Collections 24, Nr. 2 (09.05.2011): 243–56. http://dx.doi.org/10.1093/jhc/fhr012.
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Jakutowicz, Joanna. „Der gotische Muttergottes‑Altar von Guttstadt (1426)“. Studia z Dziejów Średniowiecza, Nr. 25 (16.09.2022): 144–69. http://dx.doi.org/10.26881/sds.2022.25.07.
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This article offers a stylistic analysis of the Marian altar from the church of the Redeemer and All Saints in Dobre Miasto in the voivodship of Warmia and Masuria. The altar was set up in 1426 as an altar for morning mass. It remains incomplete to this day: several Gothic figures were replaced by later pieces of sculpture, and the altar was provenance is also questionable of the centrally located sculpture of Mary and Child.
The literature up to now has pointed out stylistic analogies with the altar in Pörschken (Nowo‑Moskowskoje), at present in the collection of the Castle Museum in Malbork, and with the altar from Sokolica (Falkenau), which is at present in the collection Museum of the Archdiocese of Warmia in Olsztyn. Stylistic analysis makes it possible to establish that the closest analogy to the Dobre Miasto altar is the altar from Pörschken, while the somewhat later retable from Sokolica has many features in common with the altar from Rauma (Finland), which was a Prussian export.
It is, however, an open question as to the location of the Prussian provincial woodcarving workshop that probably produced the altars in Dobre Miasto and Pörschken, drawing on the at that time rather old‑fashioned tradition of figures of the Madonna on lions. The literaturę suggests Malbork or Gdańsk, but because of stylistic similarities to the Elbląg Apostolic College and the links of the Elbląg Rector Mikołaj Wulsack with Dobre Miasto, Elbląg, too, must be considered.
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Tourneur, Francis. „Global Heritage Stone: Belgian black ‘marbles’“. Geological Society, London, Special Publications 486, Nr. 1 (15.10.2018): 129–47. http://dx.doi.org/10.1144/sp486.5.
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AbstractThe appellation ‘Belgian black “marbles”’ usually designates dark fine-grained limestones present in the Paleozoic substrate of south Belgium. They have been extracted mostly in Frasnian (Upper Devonian) and Viséan (Lower Carboniferous) strata, in various different localities (Namur, Dinant, Theux, Basècles, Mazy-Golzinne among others). Nearly devoid of fossils and veins, they take a mirror-like polished finish, with a pure black colour. These limestones were already known during Antiquity but were only intensively exploited from the Middle Ages. Many different uses were made of these stones, for architecture, decoration or sculpture, in religious or civil contexts, following all the successive styles, Romanesque, Gothic, Renaissance, baroque and so on. All these products, architectural, decorative and sculptural, were probably manufactured close to the quarries and were first exported to neighbouring countries (France and the Netherlands), then to all of Europe (Italy, Germany, Denmark, Poland, Baltic states, etc.) and, by the beginning of the nineteenth century, worldwide. They were always considered as high value-added objects, which allowed them to travel great distances from their origin. Thousands of references document the widespread use of these exceptional natural stones. They were employed, among other famous applications, as the black background of the Pietre dure marquetry of Florence. Some other lesser uses were either for musical instruments or lithographic stones. Today only one underground quarry exploits the black ‘marble’, at Golzinne (close to Namur). This prestigious material, with its dark aura, is suitable for recognition as a Global Heritage Stone Resource.
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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, Nr. 1 (07.07.2020): 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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Lubas-Bartoszyńska, Regina. „Tłumaczka Aleksandra Olędzka-Frybesowa jako eseistka i poetka“. Przestrzenie Teorii, Nr. 31 (06.12.2019): 373–86. http://dx.doi.org/10.14746/pt.2019.31.20.
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This article presents the essays and poems of Aleksandra Olędzka-Frybesowa, who was a renowned translator from French and also English. In her essays, Olędzka-Frybesowa specialises in the Romanesque and Gothic architecture and sculpture of Western Europe as well as European painting from Medieval Ages onwards. She is also familiar with the art of South-East Europe. Her essays cover literary criticism devoted especially to poetry, with a particular interest in French and mystical poetry, as well as haiku, which was also her own artistic activity. The author of this article analyses Olędzka-Frybesowa’s ten volumes of poems, which follow a thematic pattern, especially the theme of wind (air). The analysis provides various insights into a variety of functions of this particular theme, from reality-based meanings to mystical and ethical features. This variety of funtions of the wind theme is supported by a particular melody of the poem and its abundant use of metaphors.
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Shires, Linda M. „HARDY'S MEMORIAL ART: IMAGE AND TEXT IN WESSEX POEMS“. Victorian Literature and Culture 41, Nr. 4 (25.10.2013): 743–64. http://dx.doi.org/10.1017/s106015031300020x.
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Thomas Hardy noted regretfully: “Few literary critics discern the solidarity of all the arts” (Florence Hardy 300). An architect self-educated in art history by visits to London museums, an avid reader of John Ruskin, keenly alive to music and responsive to the ornamental sculpture and painting of Gothic buildings, Hardy believed in a composite muse. After ceasing to write novels, in which he had included numerous painterly allusions and references to specific art works, he overtly probed the image/text relation in his 1898 debut volume of poetry: Wessex Poems and Other Verses, by Thomas Hardy, with 30 Illustrations by the Author. Although a reading experience dependent upon the original aesthetic interplay that Hardy had designed was destroyed in most subsequent printings, the first edition's partnership of image and text remains absolutely central to the book's multiple meanings. Indeed, Hardy's images and words should be regarded as inseparable, since they interact in what W. J. T. Mitchell has called a “composite art form” (83, 89).
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Seguí, Montiel. „Virgin Mary as the “Gate of Heaven” with Angelic Musicians in the Doorway of the Apostles at the Cathedral of Valencia“. Religions 13, Nr. 11 (14.11.2022): 1098. http://dx.doi.org/10.3390/rel13111098.
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The Door of the Apostles at the Cathedral of Valencia stands as a treasure of sacred Gothic architecture and sculpture. A modification to its original structure in 1599 removed the mullion and the stone image of the Virgin that is to be found today in the tympanum. However, regardless of her location, Mary Mater Dei presided over everything that was happening in the doorway. She guided those who crossed the temple’s threshold, placed as she was on the mullion so as to appear as a Porta Coeli. In addition, she was the conductor of the characters on the door such as apostles, prophets, patriarchs, virgins and angelic sonadors (sound-makers). The latter appeared playing various instruments from both profane and sacred medieval traditions. Their location in the tympanum, playing a role in the meaning of the message, showed the importance of music as a vehicle for conveying the revelation of the Incarnation of Christ.
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Duda, Vasile. „Armonia spațialității pozitive și negative în sculptura artistului Ingo Glass“. Studia Universitatis Babeș-Bolyai Historia Artium 65, Nr. 1 (31.12.2020): 185–220. http://dx.doi.org/10.24193/subbhistart.2020.10.
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"Harmony of Positive and Negative Spaciousness in Ingo Glass sculpture. The aim of this article is to discuss issues regarding the ways spaciousness and harmony of positive and negative surfaces in Inglo Glass sculpture are valorized. The artist was born in 1941 in Timișoara, he studied at the Traditional School of Arts from Lugoj and then he attended the university in Cluj. Between 1967-71 he worked as curator at the Museum of Contemporary Arts from Galați and he established connections with visual artists from all over the country. Later on, between 1972-73 he worked as teaching assistant at the Architecture University from Bucharest and then he became cultural consultant at the German Culture House Friedrich Schiller. During this period, Ingo Glass created a Constructivist Art with metal structures developed vertically following the spatial pattern specific to the great Gothic cathedrals– the most famous work Septenarius was built in 1976 on the Danube boardwalk from Galați. Being forced by the political circumstances from the Socialist Republic of Romania, he emigrated to the Federal Republic of Germany in 1979, he moved to München where he worked for the Municipal Art Gallery and where he was integrated in the group of Concrete-Constuctivist Art artists. After 1989 he came back to Romania with different exhibitions and he created public monuments in Galați, Timișoara, Moinești and Lugoj. Then, in 1992 he presented his PhD thesis about the influence of Constantin Brâncuși Art over the 20th century sculpture. Between 1989-1998 the artist crystallized an original visual concept based on the usage of the basic geometric shapes in conjunction with the primary colours. Ingo Glass upgraded Bauhaus theory and he associated the square with blue, the triangle with yellow and the circle with red. By using shapes and primary colours the artists creates Concrete Art, a new symbolic universe, purely geometrical, the harmony of his entire work being given by the proportion and link between full and empty spaces. Expanded spaciousness specific to the Constructivst Art phase experiments the architecture-sculpture link and the monumentality of the metallic structures encourages the entrance to the central core of works. The open, non-material dimension forms the main volume of the sculpture, the empty space dominates the full shape and it outlines the effects of an unrated and irrational spaciousness. Balanced spaciousness specific to the Concrete Art phase experiments geometrical combinations, based on the basic shapes in positive and negative intersections, by the spaciousness and non-spaciousness link, the pace between full and empty spaces. The usage of the three basic geometrical shapes also influenced the combining vocabulary of these elements, and it even ensured the ordering and deduction of the empty space. The utopia of basic forms expresses tendencies towards positive irreductible forms of energy or negative forms through non-materiality, where the concepts of mass, weight, space and time are added. In each of his works, the artist used a proportion between the elements of the composition through a rational interpretation stimulated by the achievement of a geometrical order as the essential basis of tasks. The relation between positive and negative spaciousness appears constantly in the sculpture of the last century and the rhytm and sequence of its spatial effects are determined by a sense of proportion that involves an aesthetic of proportion. Thus, we can definitely say that the work of the artist Ingo Glass originally captures all these aspects of Contemporary Art. Keywords: sculpture, spaciousness, Ingo Glass, constructivism, Concrete Art. "
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Рындина, А. В. „Grieving Saviour in Rrussian carvings of the 18th–19th centuries: moving from traditions to new solutions“. Iskusstvo Evrazii [The Art of Eurasia], Nr. 2(25) (30.06.2022): 188–203. http://dx.doi.org/10.46748/arteuras.2022.02.019.
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В статье изложены результаты исследования, имевшего целью систематизировать обширный пласт русских художественных памятников на тему Страстей Господних, не вдаваясь в анализ стилистических нюансов резьбы, что представляется возможным лишь на следующем этапе их изучения. Среди них можно выявить три основных типа: сакрально-топографический (Христос в темнице), символико-литургический (Скорбящий Спаситель) и, наконец, вариант наиболее сложный для смыслового истолкования, который условно можно отнести к историческим (группа пермских скульптур, где Христос изображен в препоясанных одеждах). Православное искусство «неотделимо от богословия» (И. Мейендорф), поэтому европейский антропоцентризм и иллюзионизм не укоренились на почве русской храмовой скульптуры, несмотря на безусловный исходный импульс извне. Напитанная литургическим смыслом, изначальным для русского церковного искусства и не искорененным даже в Новое время (П. Муратов назвал это свойство «твердостью» русского искусства), скульптура дистанцировалась как от ренессансной имитации, так и от позднеготического и маньеристского мистицизма, но при этом не стала простым ответвлением фольклора, а вошла в церковное творчество Нового времени как «икона Страстей Христовых». В этом — причина глубокого вхождения образа Скорбящего Спасителя в русскую религиозность, народную поэзию и храмовое убранство XVIII–XIX веков вплоть до эпохи модерна. The article tries to systematize a great variety of Russian carved images of Christ’s Passion, without delving into detailed analysis of the stylistic characteristics and nuances of the carving, which study seems possible only at the next stage. Among the wooden statues, three main types can be identified: sacral and spatial (Christ in prison), symbolic and liturgical (Grieving Saviour) and, finally, the group most difficult for semantic interpretation, which can conditionally be attributed as historical (Perm sculptures, Christ is depicted in girded garment). Orthodox art is “inseparable from theology” (J. Meyendorff), thus European anthropocentrism and illusionism did not root into Russian ecclesiastical sculpture, despite an unconditional impulse from outside. Wooden sculpture is saturated with liturgical meaning, which always was primordial for Russian church art, and even not eradicated in modern times (P. Muratov considered Russian art to be “unrelenting”). It distanced itself both from Renaissance imitation and from late Gothic and Mannerist mysticism. At the same time, carving has not become just a part of folklore, a folk art, but became an “icon of Christ’s Passion” in the church artwork of the New Age. This is the reason for the deep introduction of the Grieving Saviour image into Russian devoutness, folk poetry and interior church decoration in the 18th–19th centuries up to the Art Nouveau times.
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Kastner, Birgit, und Joseph Spooner. „Should the sculpture of Synagoga at Bamberg Cathedral be removed? Considerations and approaches to the problem of anti-Jewish images in a Christian church“. Sculpture Journal: Volume 31, Issue 3 31, Nr. 3 (01.09.2022): 289–317. http://dx.doi.org/10.3828/sj.2022.31.3.02.
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Since the early thirteenth century the outstanding Gothic sculptures of Synagoga and Ecclesia at Bamberg Cathedral - personifications of Judaism and the Church - have been part of an iconographic programme of the history of salvation. After the original statues at the Princes’ portal were relocated to the interior for conservation reasons, copies now fill the gaps in the portal’s pictorial programme. This ‘doubling’ of the motif and of its message recently led to demands for the removal of Synagoga. The archbishop, cathedral chapter and monument conservators are striving to retain both groups of figures in situ in order to preserve their history and context at the cathedral while confronting their controversial message. The aim of this article is to situate the sculptures of Ecclesia and Synagoga in the context of the many, often conflicting positions that have arisen during the current debate and to discuss these points of view in the context of present-day tendencies towards iconoclasm. Thus it considers the applicability of the term antisemitic to medieval sculptures and examines the iconographic development of the Ecclesia-Synagoga group for its anti-Jewish or antisemitic content. It also considers the partial or complete loss of the medieval horizon of meaning in today’s secular society, which leads to a loss of acceptance of the monument. The article concludes with a ten-point plan which aims to reconstruct the legibility of the figures and to raise awareness of the meaning and value of the sculptures without perpetuating outdated patterns of thinking.
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Čufar, Katarina, Angela Balzano, Luka Krže und Maks Merela. „Wood identification using non-destructive confocal laser scanning microscopy“. Les/Wood 68, Nr. 2 (30.12.2019): 19–29. http://dx.doi.org/10.26614/les-wood.2019.v68n02a02.
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Exact wood identification is usually based on observation of wood features under the microscope. For this, we have to take a sample of the wood from the object and cut thin slides, possibly of all three anatomical sections. Such destructive sampling is often not possible on valuable historical objects, and therefore there is a need for non-destructive approaches. The objective of the study is to present the potential of Confocal Laser Scanning Microscopy (CLSM) using an Olympus LEXT OLS5000 for the identification of wood. We present work on an example of a gothic sculpture, “St. George Defeating the Dragon”. Conventional sampling and microscopical wood identification showed that St. George is made of Norway spruce (Picea abies), and the dragon of poplar (Populus sp.) or willow (Salix sp.). We present crucial features needed for the identification of these species and the limitations with identification if the samples are too small. Finally, we demonstrate the possibility of wood identification of the abovementioned species using CLSM on wood samples without special preparation of the surfaces. CLSM enabled us to observe all the features needed for wood identification.
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Nickson, Tom. „The Gothic Screen: Space, Sculpture, and Community in the Cathedrals of France and Germany, ca. 1200–1400 (by Jacqueline E. Jung)“. Mediaeval Journal 4, Nr. 1 (Januar 2014): 139–41. http://dx.doi.org/10.1484/j.tmj.1.103947.
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Müller, Ulrike. „The Reception of Late Gothic Spanish Sculpture around 1900: A Case Study of Collectors’ Archives as a Tool for Art-Market Research“. Getty Research Journal 18 (01.08.2023): 83–106. http://dx.doi.org/10.1086/726886.
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Janson-La Palme, Robert J. H. „Anita Fiderer Moskowitz. Italian Gothic Sculpture: c. 1250-c. 1400 Cambridge: Cambridge University Press, 2001. xxvi + 401 pp. $95. ISBN: 0-521-44483-7.“ Renaissance Quarterly 55, Nr. 2 (2002): 690–92. http://dx.doi.org/10.2307/1262325.
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Fisković, Igor. „Još o romaničkoj skulpturi s dubrovačke katedrale“. Ars Adriatica, Nr. 5 (01.01.2015): 39. http://dx.doi.org/10.15291/ars.516.
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Medieval Dubrovnik was rich in Romanesque figural and decorative sculpture but only a small group of fragmentary carvings has been preserved to date due to the fact that the town suffered a devastating earthquake in 1667. The earthquake completely destroyed the monumental Cathedral of the Assumption of the Virgin which had been considered “la piu bella in Illyrico” on the basis of its sculptural abundance. Archaeological excavations undertaken beneath the present-day Baroque Cathedral, consecrated in 1713, unearthed several thousand fragments of high-quality sculptures. Their analysis has confirmed the close connections between Dubrovnik and artistic centres in Apulia, which are well known from archival records. This article re-assesses the results of the excavations and the information from the primary sources in a new light and deepens our knowledge about the date, authorship and reconstruction of the thireenth-century pieces under consideration.The article opens with a discussion about the archival record informing us that Eustasius of Trani came to Dubrovnik in 1199 to work as a protomagister of Dubrovnik Cathedral. The document in question was the reason why art historians attributed to him a number of rather damaged, narrative reliefs which replicate the models and forms that can be seen on the portal of Trani Cathedral. Since the sculptor responsible for that portal was not known and given that the contract preserved in Dubrovnik referred to Eustasius as a son of “Belnardi, protomagistri civitati Trani”, the two artists came to be considered as the builders of the Cathedral of S. Nicola Pellegrino at Trani and of several other churches in the Terra di Bari. The sculptures produced by Eustasius and his father were convincingly deemed to display the artistic influence of southern and central France and the same can be observed in Dubrovnik. The article assigns the figure of Christ the Judge from a portal lunette depicting the Last Judgement, which has no parallels in Apulia, to the same group of sculptures and interprets the subject matter as being inspired by the iconography of numerous pilgrimage churches to which Dubrovnik Cathedral also belonged. The assessment of the formal qualities evident in all the carvings demonstrates that they are less refined than those on the portal of Trani Cathedral. Furthermore, the article separates the works of the father from those of the son and suggests that Bolnardus introduced the aforementioned French-style carving method, which had already taken root in Palestine, and that Eustasius followed it. The starting point in the proposed chronology was the Fall of Jerusalem in 1187 and the associated withdrawal of western master carvers alongside the Crusaders. During their stopover at Trani, around 1190, Boltranius was in charge of the carving of the portal of Trani Cathedral where he was helped by his son who left for Dubrovnik in 1199. Based on the visual characteristics of the fragments of architectural decoration, Eustasius is identified as being responsible for the building of Dubrovnik Cathedral according to Apulian taste which appealed to the local patrons as a consequence of their constant exposure to it through numerous trade links and the overall cultural milieu. In fact, Apulian taste was a symbiosis of Byzantine traditions and Romanesque novelties introduced by the Normans, and its allure was grounded in the fact that both the Terra di Bari and Dubrovnik acknowledged the supreme power of these two political forces albeit not at the same time and in unequal measure.The vernacular current in the Romanesque sculpture of Dubrovnik during the second quarter of the thirteenth century can be noted in a small number of works which influenced the decoration of Gothic and Renaissance public buildings. The source of this diffusion can be identified in the decoration of the Cathedral which epitomized the strong artistic connections with southern Italy from where typological and morphological models were borrowed. The redecoration of the Cathedral’s interior, especially the pulpit – recorded for the first time in 1262 – the archaeological remains of which reveal a polygonal structure resting on twelve columns, drew on those very models. Together with the ciborium above the altar in the main apse, the pulpit was praised by local chroniclers and foreign travel writers during the fifteenth century but also by the earliest church visitation records of the mid-seventeenth century. These two monuments belonged to a group of standard Apulian-Dalmatian ciboria and pulpits which also included those that can today be seen in the cathedrals of Trogir and Split but also in many south Italian churches. Some scholars have argued that the source model for this group can be found in Jerusalem but this article suggests that the ciborium from the church of S. Lorenzo fuori le mura in Rome, dated to 1148, presents a more likely option. Particular attention is given to the naturalistic workmanship of a polygonal capital from Dubrovnik Cathedral, which is assigned to the aforementioned pulpit. It is argued that the style of the capital inspired a series of capitals carved à jour on both sides of the Adriatic and that they display characteristics consistent with the manner of carving of Pietro di Facitolo seen at Bisceglie. The exceptional workmanship of the eagle from the same pulpit is attributed to Pasquo di Pietro who was recorded as a protomagister of the Cathedral from 1255 to 1282 and who well regarded as a master carver. His good reputation earned him the citizenship and an estate; he and his son were mentioned in the local documents as “de Ragusio”. The author of the article hypothesizes that Pasquo may have been Pietro di Facitolo’s son, with which he concludes the outline of the sculptural development of the Apulian Romanesque in Dubrovnik and Dalmatia in general.The final part of the article focuses on the only known work of Simeonus Ragusinus who signed himself as “incola tranensis” on the portal of the church of S. Andrea, that is, S. Salvatore at Barletta. The hybrid artistic expression of this eclectic sculptor with a limited gift, who gathered his knowledge from a variety of sources, reveals that he may have borrowed some iconographic motifs from Eustasius’ portal of Dubrovnik Cathedral or from the other two portals. Overall, the article corroborates several hypotheses that were previously expressed in the scholarship while dismissing and rerouting others. At the same time, it emphasizes the scarcity of solid evidence because of the fragmentary nature of the material. The main goal of the article is to present new research findings and widen our perspective on the issue. The article is a revised version of a brief paper presented at the international conference “Master Buvina and his Time” which was held at Split in 2014 and which will be published in a foreign language. I hope that with the addition of new comments and the scholarly apparatus the article will be a useful point of reference to Croatian researchers of similar topics and that it will contribute towards the creation of syntheses about the medieval art in the Adriatic.
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Srhoj, Vinko. „Kuzma Kovačić - priroda, kultura i vjera kao korektivi modernističke skulpture“. Ars Adriatica, Nr. 1 (01.01.2011): 169. http://dx.doi.org/10.15291/ars.436.
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Affirming himself during the postmodern period, it is as if sculptor Kuzma Kovačić never cared about the appearance of the new artistic trend. His oeuvre does not display any inclination, not even a rudimentary interest in postmodern compiling and referencing of historical sources. The age of fragmentary visual models creaed by the idea about the loss of cultural unity which attempted to construct itself on the shards of the broken ‘art-historical vase’ did not seem to touch him at all. On the other hand, Kovačić is not a follower of the preceding modernist period which emphasized the experimental nature of art, formal and analytical models where subject matter was identified with material and technique. It seems that in his case, the call of heritage and stories from the native region had outshone any interest in being part of the chronological succession of trends and generations. Grgo Gamulin once wrote that this sculptor ‘observes and forms the seasons, sea, stations of the Cross, sermons, epistles, evangelists and saints’. It seems that he is not so much looking towards what is new on the artistic horizon as towards what the home region of Hvar, the Mediterranean and Christianity have left imprinted on the millennial physiognomy of landscape and people. Kovačić wants to direct our attention to the context of culture and tradition, but also to the structure of surface, and in this, between the private and collective, the significant and insignificant, the intimate and public, he does not see any obstacle. Equally so, he does not make a difference between the traditional representational materials in sculpture and he extensively uses trivial everyday material: cotton, glass, sponge, resin, paper, cellophane, cardboard, plexi-glass, polyester, silver and gold leaves, sand, soil, polystyrene, nails, quicklime and light. The philosophy of Kovačić’s oeuvre convinces us that nothing in the world is so insignificant so as not to have a particular role in the grand scheme of things. Thus, behind proud structures of human vanity, behind large buildings, imperial residences, triumphal arches, but also in nondescript stones of human modesty one can find the hidden wisdom of eternity. For this reason, even when producing monumental works such as the doors of Hvar Cathedral, Kovačić does not indulge in the ceremonial pomp of the glorious past. Besides, he does not belong to those who reconstruct large building complexes, he is not attracted to the monuments of earthly powers and wonders of the world which aim at the sky which remains always equally distant. On the contrary, he is fond of the scratches on the wall, a clumsy record in stone, which resist the progress of time as if by a miracle, outliving many famous palaces and dilapidated temples by its perpetuity. It can even be said that these frail impressions which defy transience impress him more than the structures envisaged and created to last unchanged forever. The doors he made for Hvar Cathedral are a good example of this. They have nothing in common with the classic Gothic-Renaissance forms. Here, Kovačić seems to address deeper layers of traditional forms, and in compact and robust forms we recognize the early Christian manner, but also that of the folks people’s touching sentimentality (and piety) which did not care for the refined rules of elite culture.Neither did Kovačić lose his head by pleasing the snobbish politicians and the newly converted believers when he worked on the so-called tasks of national sovereignty, following the late 1990s change of government in Croatia. However, it can be noticed that he moved away from the works such as “Velegorki”, “Lo, the Sea is Sweating with Blood” (“Evo se more znoji krvavim znojem”) and “The Description Of the Origins of Croatian Sculpture” (“Opis početaka hrvatskog kiparstva”) to the lyrical realism evident in his depicting of popes, saints, the “Altar of the Homeland”, Christ, The Last Supper, Franjo Tuđman and Gojko Šušak. Of course, this does not mean that he has lost vitality and potency, nor that these works are bad, but simply that he took a turn towards a certain type of realism and depiction of figures, instead of representing them as signs and symbols, as he had done before the “renascence of national sovereignty”.One of the large public projects by Kuzma Kovačić was the “Altar of Croatian Homeland” on Medvedgrad. This project, executed during the presidency of Franjo Tuđman (1994), caused much public dispute, whether concerning the restoration of the feudal burg or the idea that altars without a liturgical purpose should be erected to the Homeland. However, it was generally accepted that Kuzma Kovačić’s sculptural complex was the best that happened to this lay sanctification of the place. In spite of the drawing on the geometry of Croatian chequers, with Medvedgrad Kovačić also showed that he is neither a minimalist nor a reductionist who distils forms into geometric purism. His geometry is narrative, his cubes and glass shapes contain the trace of human hand, stamps of the ages and symbolical signs. However, his projects, connected to state commissions, were criticised by parts of the general public, not because of their insufficient artistic merit and obsequiousness to political establishment and their doubtful taste (in particular that which likes to see itself as generating projects of national sovereignty and veers towards kitsch), but because of the political context which was causing hatred. The same happened to the monumental public statues of Franjo Tuđman and Gojko Šušak which were evaluated mostly in the overheated political sphere of opinions for or against the persons portrayed. Not many, not even the apologeticists of HDZ nomenclature, considered Kovačić’s sculptures and their form. Perhaps the best example is the statue of Dražen Petrović which, unlike those mentioned, had no political context and thus did not cause any controversy. In any case, it is certain that even when working on large public statues or in churches, Kovačić is equally successful in mastering the monumental form, and in the intimistic rendition of the miniature form which represents the majority of his oeuvre (and also the best). In doing so, the dimensions themselves (i.e. large scale) do not mean that Kovačić has given up on sculpture which is inherently intimistic, compact, non-representational and which directs its power towards the core, rather than expanding into external rhetoric.
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Gorzelik, Jerzy. „Wiatr z Północy. Dyskursywne konstruowanie Heimat na przykładzie gmachu dawnej Królewskiej Szkoły Rzemiosł Budowlanych w Katowicach i jego wystroju“. Przegląd Kulturoznawczy, Nr. 4 (50) (30.12.2021): 745–61. http://dx.doi.org/10.4467/20843860pk.21.051.14968.
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Wind from the North: The Discursive Construction of Heimat Exemplified by the Edifice of the Former Royal School of Building Crafts (Königliche Baugerwerkschule) in Katowice and its Decoration The paper examines the edifice of the former school of building crafts (Baugewerkschule) in Katowice, Upper Silesia, which opened in 1901, and its decoration. The works of architecture, painting and sculpture were interpreted as carriers of a discourse calculated to construct Heimat, located within the borders of the Prussian Silesian Province. The building’s forms, reminiscent of the brick Gothic of northern Germany, were characteristic of the milieu of the Technische Hochschule in Hannover, where the designers of the edifice were educated. The city’s coat of arms was depicted on the facade, the vaulted ceiling of the auditorium was decorated with dragon and gryphon motifs of Scandinavian origin, and its walls painted with images of St. Hedwig ‒ the patron saint of Silesia, viewed here as a deconfessionalized personification of the land ‒ the Prussian eagle, and four iconic monuments of historic Silesian architecture. Thus, references were made to various levels of identity ‒ local, regional, national, and the mythologised Germanic North. The narrative constructed in this way fits into the cultural nationalism of the educated German bourgeoisie (Bildungsbürgertum), which grows out of the Romantic tradition. At the same time, the emphasis on the opposition of the North and South can be seen as a strategy for overcoming the peripheral status of Silesia in a world organised by the West-East axis. The school’s building in Katowice exemplifies how the elites of the German Empire used visual means to construct modern imagined communities.
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Dutczak, Marta. „Wawelski czarny krucyfiks. Krzyż królowej Jadwigi, Leona Wyczółkowskiego i św. Jana Pawła II“. Roczniki Humanistyczne 68, Nr. 4 Zeszyt specjalny (2020): 81–95. http://dx.doi.org/10.18290/rh20684-6s.
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A unique Gothic crucifix has been worshiped in the Wawel Royal Cathedral throughout centuries. The sculpture created in Bohemia or Hungary around 1380 was brought by Jadwiga of Poland (13741399) from Hungary to Poland, most likely in 1384. At the feet of Christ Crucified the monarch prayed for the gift of wisdom to rule the kingdom. The crucifix was placed in an altar in the Wawel Royal Cathedral and it has inspired a great devotion to the Crucified. After premature death of Jadwiga in 1399 the altar became a place of veneration of the monarch, which ever since has been lasting unceasingly. Due to the fact that prayers of the faithful through intercession of the queen at the crucifix were blessed by wonders it acquired great significance and started being called ‘miraculous’. Cardinal Karol Wojtyła, carrying out the function of the Metropolitan of Kraków, evoked the memory of Jadwiga in a particular way, encouraged her veneration and intensifi d efforts towards her canonization. He regarded the Crucifix of Jadwiga as ‘a place of the powerful testimony’. As pope John Paul II he canonized the queen during the Eucharist celebrated in Błonia Park in Krakow on the 8th of June 1997. The crucifix became a symbol of Polish history, spiritual heritage and deep faith of the Polish nation, what has been proved by the strong presence of this motif in fi arts. In the time of partitions of Poland Leon Wyczółkowski (1852-1936), an outstanding Polish artist and a teacher depicted it many times using a range of artistic techniques. A lively interest in a pastel ‘Crucifi of Jadwiga of Poland’ by Wyczółkowski auctioned in Kraków in 2019, which price went from 35 000 PLN (starting price) to 54 000 PLN (hammer price) after emotional bidding reveals how profound is its signifi to the Polish nation nowadays.
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Grobelna-Sochaj, Angelika. „Retable from Lubowo (Łubowo). An example of late gothic sculpture and the lay piety of the and of 15th and the beginning of 16th century in Western Pomerania“. Studia Koszalińsko-Kołobrzeskie 29 (2022): 275–92. http://dx.doi.org/10.18276/skk.2022.29-15.
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Zula, Floyd M. „GOTHIC SCULPTURE IN AMERICA, VOLUME 1: THE NEW ENGLAND MUSEUMS. (Publications of the International Center of Medieval Art, 2) — (Garland Reference Library of the Humanities, vol. 725). Dorothy Gillerman“. Art Documentation: Journal of the Art Libraries Society of North America 8, Nr. 3 (Oktober 1989): 152–53. http://dx.doi.org/10.1086/adx.8.3.27948101.
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Coldstream, Nicola. „Gothic to Renaissance: Essays on Sculpture in England. By Phillip Lindley. 240mm. Pp. xii + 212, 127 ills. Stamford: Paul Watkins, 1995. ISBN 1-871615-76-3. £19.95 p/b.“ Antiquaries Journal 77 (März 1997): 424–25. http://dx.doi.org/10.1017/s0003581500075466.
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Dressler, Rachel. „Janet Snyder, Early Gothic Column-Figure Sculpture in France: Appearance, Materials, and Significance. Farnham, Surrey, UK: Ashgate, 2011. Pp. 306; 203 b&w and 20 color figs. $119.95. ISBN: 9781409400653.“ Speculum 88, Nr. 1 (Januar 2013): 340–41. http://dx.doi.org/10.1017/s0038713412004411.
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Akande, Adeyemi. „The iconography of Saint Denis in early French Gothic architecture“. Journal of Art and Architecture Studies 11 (15.06.2022): 1–7. http://dx.doi.org/10.54203/jaas.2022.1.
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Of the many sculptures on the facades of cathedrals and churches all over France, the curious Head-carriers, also known as Cephalophores, are arguably some of the most thought-provoking sculptural pieces one will come across. This study is concerned mainly with the iconography of St Denis, the first Bishop of France, as articulated on the portals of the Basilica of St-Denis. The events that followed immediately after Denis’ martyrdom by decapitation is mostly regarded as mere fable. Consequently, the symbolic meaning of the unusual movement has evaded scholarship. This work will discuss the symbolism of the Head-carriers and the meaning it gives to the architectural space of the Basilica of St Denis. This study argues that the emblematic ideology behind the sublime interaction between the living and the dead in the Basilica of St Denis, epitomised by the statue of the martyr, is a visual representation of a central message in Christianity which presents death, not as the end, but as a transitory and glorious beginning of oneness with Christ. Through critical visual analysis and metaphysical discussions, the study places Gothic art and architecture in the centre of the enunciation of 16th century Christian doctrine.