Dissertations / Theses on the topic 'Gothic Sculpture'

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

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.

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’époque
The 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

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 originale
Despite 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

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.

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 1520
As 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

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 cathédrale
This 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

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.

L’art gothique apparu en Île-de-France vers 1135 atteignit le département de la Haute-Saône, partie nord du comté de Bourgogne relevant de l’Empire germanique aux XIIe et XIIIe siècles, à partir des années 1160. Les cisterciens jouèrent un rôle déterminant dans l’introduction de ce nouvel art de bâtir dans la région. À la fin du XIIe siècle, ce mode de construction demeura d’ailleurs l’apanage de leurs abbatiales. Les formules gothiques ne se généralisèrent en effet dans l’ensemble des édifices religieux qu’à l’aube du XIIIe siècle. Ce moment précis marque le point de départ de ce mémoire de doctorat qui a pour objet de déterminer les étapes de formation du gothique comtois et de suivre son évolution jusqu’aux prolongements des modes mises à l’honneur au XIIIe siècle en ce lieu situé à la charnière entre le royaume de France et l’Empire germanique. Malgré l’adoption des formes principales du premier art gothique (voûtement d’ogives, contreforts…), l’architecture demeura dans un premier temps ancrée dans la tradition romane du XIIe siècle particulièrement marquée par le retour à la vita apostolica prôné par la réforme grégorienne. Cette tradition de simplicité ne pouvait être ébranlée que par un ordre disposé à la sobriété, l’ordre cistercien, auquel un certain nombre d’éléments architecturaux caractéristiques furent empruntés pour les premières constructions gothiques comme à Purgerot, Bétoncourt-les-Ménétriers et dans la nef de l’abbatiale de Luxeuil dont le chantier d’envergure s’ouvrit à la fin des années 1230. L’ouverture des maîtres d’œuvres au gothique classique, certes modérée, ne se produisit qu’aux alentours de 1240 (ils conservèrent leur attachement aux valeurs de muralité, à Pesmes par exemple). L’art rayonnant fit son apparition dans les années 1270 à Luxeuil, par l’intermédiaire de la Lorraine proche. Mais la mise en œuvre d’une abside vitrée ne constitua cependant pas une étape irréversible dans la construction car les édifices d’ampleur modeste élevés à la fin du XIIIe siècle et au début du siècle suivant présentent un caractère particulièrement conservateur, en écho sans doute à la nouvelle pastorale : celle des ordres mendiants. Les constructions sont simples et le décor architectural, qui a peu inspiré les sculpteurs en Franche-Comté, infime. Seule la modénature, tout à fait en adéquation avec celle d’édifices contemporains du royaume de France, a permit de situer les édifices dans la fourchette chronologique concernée par le champ de l’étude. Bien connue des maîtres d’œuvres, elle témoigne d’une volonté délibérée de leur part d’adapter les formes nouvelles à la tradition comtoise. L’architecture gothique se trouve donc en Haute-Saône à la fois dans son temps et hors des modes, ce tropisme fait sa singularité
The Gothic art appeared in Ile-de-France by 1135 reached the department of the Haute-Saône, part north of the Burgundy’s county depending on the Germanic Empire in the XIIth and XIIIth centuries, about 1160s. The Cistercians played a role determining in the introduction of this new art to build in the region. At the end of the XIIth century, this mode of construction besides remained the privilege of their abbey churches. The Gothic formulae indeed became widespread in the whole of the religious buildings only at the dawn of the XIIIth century. This precise moment marks the point of departure of this report of doctorate which has for object to determine the stages of formation of the Gothic from Franche-Comté and to follow its evolution up to the repercussions of the fashions put in the honor in the XIIIth century in this place situated in the hinge between the kingdom of France and the Germanic Empire. In spite of the adoption of the main forms of the first Gothic art (diagonal ribs, foothills), the architecture remained at first anchored in the Romanic tradition of the XIIth century particularly marked by the return in the vita apostolica lauded by the Gregorian reform. This tradition of simplicity could only be shaken by an order arranged in the sobriety, the Cistercian order, from which many characteristic architectural elements was borrowed for the first constructions Gothic as to Purgerot, Bétoncourt-les-Ménétriers and in the nave of the abbey church of Luxeuil, the large-scale construction site of which opened at the end of 1230s. The opening of architects in the classic Gothic, certainly moderated, occurred only near 1240 (they kept their attachment in the values of muralité, in Pesmes for example). The radiant art made its appearance in the 1270s in Luxeuil, through the close Lorraine. But the implementation of a glazed apse did not however constitute an irreversible stage in the construction because the buildings of modest scale raised to the end of the XIIIth century and at the beginning of the next century present a particularly conservative character, in echo doubtless in the new pastoral: that of begging orders. The constructions are simple and the architectural decoration, which has not inspired the sculptors in Franche-Comté very much, tiny. Only the mouldings, completely in adequacy with that of contemporary buildings of the kingdom of France, have allowed placing the churches in the chronology. Well known to the architects, they testify of their will deliberated to adapt the new forms to the Franche-Comté’s tradition. The Gothic architecture is thus in Haute-Saône at once in his time and out of the modes, this tropism makes its peculiarity

This Master of Fine Arts thesis is divided into four main sections:FAITH and DISBELIEF: In which I reckon with the implications of faith versus rationality as a secular nontheistic artist. IDEAS: The central locus of my work is a place of indeterminacy between what is known/familiar and what is just one step outside of that. This has nothing to do with mysticism, science fiction, or anything else unmoored from established fact. Section also touches on the particular vantage of a female artist with working class roots.THE WORK: Selection of work made during graduate school, and the the guiding thoughts behind each.EMPTINESS, STILLNESS, ABSENCE, GHOSTS, DOUBT: A discussion of influential artists and ideas.

Ferrara cathedral in the Middle Age: building phases and iconographical problems. The present investigation analyzes the different building phases of Ferrara cathedral during the Middle Age, trying to understand the evolution of a very large and extremely complex yard. Nowadays only the perimetrical walls belong to the medieval period, because of the remaking suffered during the centuries. The work starts from a careful, critical revision of the existing literature and the preserved sources, by a widespread research in the archives of Ferrara, Modena, Ravenna, Florence, Rome and Vatican City. Then, the possibility to get to scaffolding organized to remake the roofs of the aisles, in 2007 and 2008, and to study the 3D surveys of Ferrara University and the photogrammetries of Ravenna Superintendence has allowed to raise new problems and try to find new solutions. On the base of careful inspections and on-the-spot investigations, it has been possible to formulate new hypothesis, suggesting a different articulation of the building phases and participation of workforces. From the starting of the construction under bishop Landolfo in 1135 (when Nicholaus’ workshop also participated) to a new definition of the campionese phase, the whole sculptural material has been reexamined to elaborate some original proposal. The figure of the Months master has been reconsidered too, focusing better his possible training in the French yards and his plausible presence in Vercelli. With regard to the Months reliefs, a new proposal for their collocation has been advanced, especially for the Zodiacal signs slabs. The individuation of the French workshop, that deals with another building phase and with the realization of the upper part of the façade porch, permits to connect Ferrara and the Ile-de-France cathedrals. Thanks to the pictures taken during the conservative intervention directed by Ottorino Nonfarmale, it has been possible to understand that the Last Judgment of the porch was originally composed in a different way. A further building phase has been picked out in the upper gallery of the southern flank, until ending with the façade completion, that probably continued until the first half of the XIV century, with influences coming from the English gothic. With regards to the inner space of the building, divided in five aisles with a false transept, even completely lost nowadays because of a XVIII century restoration, I tried to recompose it ideally, comparing the old drawings and engravings, realized before the transformations, with all the useful passages found in the sources. For this reason, in the appendix some unpublished documents have been collected, to shed more light on the ancient facies of the cathedral. In the light of what has emerged, a global image of great interest has appeared: this cathedral, similar for its size to the big early Christian churches, absorbed and elaborated not only the northern Italy architectural traditions, but it was also the product of an intricate crossing of European exchanges, suggestions and influences that made it unique in the contemporary building survey of our peninsula
La cattedrale di Ferrara in epoca medievale: fasi costruttive e problemi iconografici Questo studio analizza le diverse fasi costruttive della cattedrale di Ferrara in epoca medievale, per cercare di comprendere l’evoluzione di un cantiere estremamente complesso e di vaste dimensioni. Dell’età di mezzo oggi si conservano nell’edificio solo le murature esterne, in seguito ai rifacimenti subiti nel corso dei secoli. Il lavoro ha preso le mosse da un’attenta revisione critica della letteratura esistente e delle fonti conservate, attraverso una capillare ricerca negli archivi di Ferrara, Modena, Ravenna, Firenze, Roma, Città del Vaticano. In seguito, la possibilità di accedere ai ponteggi per il rifacimento dei coperti delle navate laterali, tra il 2007 e il 2008, e di studiare i rilievi a scanner 3D dell’Università di Ferrara e le fotogrammetrie della Soprintendenza di Ravenna ha consentito di sollevare nuove problematiche alle quali si è cercato, in queste pagine, di dare delle risposte esaustive. Sulla base di attente ispezioni e di nuovi sopralluoghi, è stato possibile avanzare nuove ipotesi, proponendo una diversa scansione nel susseguirsi delle fasi costruttive e delle maestranze al lavoro. Dall’avvio della fabbrica sotto il vescovo Landolfo nel 1135 (al quale partecipò anche l’officina di Nicholaus) a una nuova ridefinizione della fase campionese, è stato riesaminato tutto il materiale scultoreo e sono state quindi elaborate delle proposte inedite. È stata riconsiderata anche la figura del Maestro dei Mesi, focalizzando meglio la sua possibile formazione nei cantieri francesi e la sua plausibile presenza a Vercelli. Per il ciclo dei Mesi si è avanzata un’inedita proposta di collocazione, in particolare per quanto riguarda le formelle dei segni zodiacali. L’individuazione della maestranza francese, che si è occupata di una fase edificatoria e della realizzazione della parte superiore del protiro della facciata, ha permesso di creare un ponte tra i cantieri dell’Ile-de-France e Ferrara. Grazie alle fotografie del restauro diretto da Ottorino Nonfarmale è stato possibile anche comprendere che il Giudizio universale del protiro in origine era stato pensato in maniera diversa rispetto a come oggi appare. Una fase costruttiva ulteriore è stata poi individuata nella galleria superiore del fianco meridionale, per chiudere infine con il completamento della facciata, che si prolungò probabilmente fino alla prima metà del XIV secolo, con suggestioni provenienti dal gotico inglese. Per quanto riguarda l’articolazione dello spazio interno dell’edificio, in cinque navate con transetto aereo, per quanto oggi completamente perduto a causa di un intervento settecentesco, si é cercato di ricomporlo idealmente, comparando i rilievi e le vedute dell’edificio realizzati prima delle trasformazioni, con tutti i passi utili delle fonti reperiti. In appendice sono infatti raccolti alcuni documenti inediti che gettano nuova luce sull’antica facies dell’edificio. Alla luce di quanto emerso è risultata un’immagine globale di grande interesse: non solo questa cattedrale, che per dimensioni è comparabile alle grandi basiliche paleocristiane, accoglie e rielabora la tradizione architettonica padana, ma si pone al centro di un intricato crocevia di scambi, suggestioni e influssi europei, che la rendono unica nel coevo panorama costruttivo della nostra penisola

In this thesis I examine the Holy Grave monument located in the St. Catherine chapel of Strasbourg cathedral, erected by Bishop Berthold von Bucheck sometime between 1346 and 1348. This sculptural sarcophagus currently exists in fragmented form in the Musée de l'Oeuvre Notre-Dame; only the four relief panels of the sleeping guardians, the gisant of Christ, and some fragments of the baldachin remain of the original monument. Scholars have been able to ascertain the placement and probable appearance of the Holy Grave based on traces of three lancet bays, wall paint, and bolt holes discovered along the west wall of the chapel during twentieth-century excavations. The numerous copies that the St. Catherine Holy Grave inspired throughout Strasbourg and the surrounding area attests to the significance of the monument within the larger Holy Grave tradition. The Strasbourg Holy Grave functioned liturgically as a prop used by the clergy to reenact the drama of the resurrection during Holy Week. I argue, however, that the monument's permanence, relative accessibility, and pathos-inspiring imagery suggest its use on a more frequent basis. Through its isolation of scenes from the biblical narrative and its visualization of complex mystical metaphors, the Holy Grave at Strasbourg cathedral--and thus also the numerous copies it inspired--reveals its use as an object for personal devotion, much like the group of Rhenish Andachtsbilder that also flourished at this time. The changing beliefs concerning Christ's Passion, the nature of the Eucharist, and the understanding of death and the afterlife are reflected in the style, iconography, and didactic message of the Holy Grave monument. The influence that the mendicant orders and Rhenish mystics had on the spiritual instruction of the laity in Strasbourg points to the understanding of this monument as a tool to aid the faithful in achieving union with God. The popularity of Holy Graves in and around Strasbourg ultimately illustrates the medieval desire for proximity to the divine. As the emphasis on Christ's suffering and death grew throughout the devotional practices of the fourteenth century, art forms like the Holy Grave monument at Strasbourg cathedral increasingly focused on engendering pathos in the medieval devout. The Strasbourg Holy Grave's liturgical, devotional, and anagogical functions coalesce to create a monument that's fundamental purpose consisted of aiding the faithful in their journey toward salvation.
text

Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal
Pour respecter les droits d'auteur, la version électronique de cette thèse ou ce mémoire a été dépouillée, le cas échéant, de ses documents visuels et audio-visuels. La version intégrale de la thèse ou du mémoire a été déposée au Service de la gestion des documents et des archives de l'Université de Montréal.

This Master Thesis "The animals in the cathedral. Architectural sculpture of animals and fantastical creatures by parlerian lodge in the St. Vitus Cathedral, their symbols and iconography" looks into the architectural sculpture of animal's motifs and motifs of fantastical Creatures. The goal of this work is to summarize recent aspects of research about this theme, explain in more detail individually motifs of animal's and their Iconography and their meaning for Cathedral of St. Vitus. Also this thesis want to explain how could this special animal's motifs fit into the places, where are they have been situated. Their Iconography is taken with larger perspective, by literature's reception from antique over czech medieval age. Concerning animals and fantastic Creatures in the southern vestibule - pelican and phoenix; an owl in the Crown Chamber; gryphon and fight between cat and dog in the inner triforium; an eagle, an unicorn, a horse with bird's legs, a phoenix, a pelican, a stag, a lion, a gryphon, a lioness, a bear, a "cat" and three chimera in the outer triforium; a lion, a dog, a dragon and an eagle in buttresses and at least a dragon and a goat on the Big Tower. Keywords Cathedral st. Vitus, animal's motifs, symbols, iconography, architektonical sculpture, sculptures, console, relief, gothic...

Questa ricerca nasce dall’esigenza di colmare le lacune storiografiche riguardo il fenomeno monastico verginiano e la sua produzione artistica in Campania e Basilicata, la cui conoscenza è ancora frammentaria e caratterizzata da scarsa organicità, prendendo in esame globalmente testimonianze monumentali spesso non sufficientemente frequentate dagli studi scientifici, accanto ad altre già sondate, ma quasi sempre per alcuni aspetti di particolare rilevanza, quali gli arredi liturgici o le sculture architettoniche. L’obiettivo è stato quello di una rilettura complessiva, sia storica che artistica, volta a una migliore comprensione delle ragioni che hanno determinato la nascita e lo sviluppo di questo patrimonio di architettura e arte monastica. L’indagine è proceduta per nuclei territoriali, prediligendo un criterio prima topografico e poi cronologico, così da poter evidenziare sito per sito la continuità di un fenomeno caratterizzato sul piano materiale dall’evoluzione delle forme insediative col passaggio dall’eremitismo al cenobitismo, e da una storia monumentale che contempla, per gli insediamenti di rientrati nell’orbita della congregazione sullo scorcio del XII secolo, restauri e ampliamenti nel costante mantenimento dei luoghi delle origini. La scelta dell’area territoriale è stata dettata dalla particolare concentrazione di esperienze monastiche in una regione che in età antica era attraversata dal tracciato della Via Appia, nella quale, in epoca medievale, rientreranno le diocesi di Avellino, Nusco, Conza della Campania e Rapolla, importanti avamposti della nobiltà normanna, che sempre vi eserciterà il suo controllo politico tramite una salda organizzazione vescovile, l’affidamento di alte cariche a uomini di fiducia, la gestione strutturata delle attività agricole ed economiche in genere, e, infine, attraverso gli enti monastici, spesso strettamente connessi al potere signorile. La ricerca ha affrontato, concentrandosi sulle fondazioni abbaziali, i secoli che vanno dalla seconda metà del XII alla seconda metà del XIV, evidenziando i cambiamenti che gli eventi storici, politici e religiosi determinarono nel rapporto tra monasteri e territorio e nelle strutture architettoniche. Il termine cronologico ultimo della trattazione coincide, per l’abbazia di Montevergine, con la fine del dominio angioino, che rappresenta l’avvio di una stasi nella produzione artistica, che riprenderà vigore solo in epoca rinascimentale. Per le fondazioni di Santa Maria di Fontigliano, San Salvatore al Goleto, Sant’Ippolito a Monticchio e Santa Maria di Pierno, monasteri fortemente condizionati dalle vicende della nobiltà normanno-sveva, la ricerca si ferma di fatto alla metà del XIII secolo, dal momento che nessun indizio, né documentario né architettonico- artistico, permette di ipotizzare una rinnovata vitalità dopo l’avvento degli Angiò, quando le loro sorti cominceranno inevitabilmente a decadere. Tuttavia, l’innesto dell’esperienza monastica francescana in Basilicata nel primo XIV secolo rappresenterà, con l’esempio del superstite chiostro del monastero di Sant’Antonio a Muro Lucano, un’ultima traccia di continuità col linguaggio espressivo maturato nell’orbita dell’esperienza verginiana. Le componenti culturali che caratterizzano i monasteri della valle dell’Ofanto e del Partenio danno vita, dalla metà del XII secolo all’età angioina, a un originale percorso creativo in cui a un latente substrato autoctono si sommano progressivamente elementi allogeni, spesso incoraggiati da scelte collegabili a peculiari situazioni politico- istituzionali o agli orientamenti della committenza. La rete di monasteri e dipendenze gravitanti attorno alle fondazioni di Santa Maria di Montevergine e San Salvatore al Goleto, in sinergia con i vicini insediamenti benedettini, si era fatta più o meno consapevolmente centro catalizzatore di maestranze di provenienza eterogenea, sparse su tutto il territorio lucano e campano, con propaggini nella Puglia garganica, oltre che vivace recettore del gusto più in voga in determinati contesti storico-geografici.

Master Hartmann and the Swabian Woodcarving at the Beginning of the 15th Century The stonemason Master Hartmann from Ulm is known to art historians already long time, but his role in Swabian woodcarving at the beginning of the 15th century, however, still evokes numerous questions. Although Hartmann is believed to work simultaneously in the hut and the woodcarving workshop, the average quality of his works, and the fact, that he was accepted as a citizen only in the year 1928, more than ten years after we encounter him in Ulm records for the first time, indicates certain complications of this hypothesis. In this doctoral thesis, Master Hartmann is studied from the perspective of social and cultural situation in Ulm at the beginning of the 15th century. Attention is given to his position in the hut organization on the construction of Ulm Minster and his artistic activity on the western façade, which in its iconographical concept reflects also the historical background. The second part of the thesis focuses on the woodcarving workshop, where the Altarpiece of Dornstadt was made, and on the phenomenon of wide distribution of this style around the entire Swabia. The Ulm workshop is presented in the context of the city and its minster hut, former local centers and even more distant regions. Around 1415,...

The Astwerk like late gothic natural decor in Bohemian lands with international kontext Abstract The diploma thesis presents introduction to problems of naturalistic dekor and use of the motif cut branches / astwerk in Bohemian lands. The focus will be primarily using in the field of sculpture of stone. There will be explained starting area use of astwerk decor, way to the Bohemian lands and Moravia, followed by the development of a retreat in the context of the Renaissance. After a critical review of the literature the work will indicate a chapter on cultural-historical context. The situation in the Bohemian lands after the Hussite wars will be introduced, when in insecure religious circumstances was chosen King Vladislav Jagiello in Kutna Hora, and so begins a new period of prosperity of the country again. Mentioned also will be his representative program in response to Charles IV. Soon Vladislav Jagiello also became King of Hungary and change the new seat to Buda. The influence of the character of the change should be noted. Above it is meant unbroken artistic production and later inspiration the early Renaissance form. The subchapter is a courtly art especially during the reign of Vladislav Jagiello. In this part there are presented foremost works and their authors also including B. Ried. In this...

This thesis looks into the analysis of iconography of the northern lateral portal of the Church of Our Lady before Týn. For this purpose this thesis summarizes the most important historiographical, Artististic Science and source literature related to this relic. Based on researched iconographic analysis this thesis aids to propose all possible solutions iconographic programme which could have been intended for this thesis. Based on the evaluation of literature, sources and on the formal analysis principal the objective of this thesis is to specify significantly problematic dating range (approximately from mid. 13th century up to late 1450) to shorter period of possible origin of the artwork there are also evaluated all available restauration reports and construction historical surveys related to the inspected relic.

The main goal of the thesis is a thorough description of the outer stone sculptural decoration of the Old Town Hall (taking into consideration the Hall's entrance portal and moulding of the window with Vladislav's initial), its iconographic analysis and creating the photo documentary. In addition the thesis documents the possible style paralels of this decoration in Czech and European art of the Late Gothic period in witch case it focuses on naturalistic element. This very study of possible style paralels becomes the foundation for the attepmt to narrowing down the radius of potantial authors of this creation and it helps to uncover its symbolic meaning.