Academic literature on the topic 'Sculptors' guild'

The transition in the national sculpture from the end of the 19th century to the beginning of the 20th century from the system of plastic and conventional figurative medieval form to the realistic one led to the assimilation of influences from Russian, Romanian and Western Art. The influences of impressionism can be felt in the creation of Nichifor Colun and in the creation of Alexandru Plămădeala, Claudia Cobizev, Lazăr Dubinovschi, in which classical realist art is combined with modernism. The gallery of portraits in the spirit of socialist realism was represented by Valentin Kuznetsov, Nicolai Gorionashev, Alexandr Maiko, Lev Averbuh. Thanks to the theme of the contemporary’s portrait, there appear galleries of portraits with a romantic allure of the writers and those of the guild colleagues created by sculptors Lazăr Dubinovschi, Alexandra Picunov-Târțău, Iurie Canașin. The coloring of wood, specific to the Impressionists, can be observed in the creation of Brunhilda Epelbaum-Marcenco. Both the portrait and composition are present in the works of Galina Dubrovina, Ion Beldii and Natalia Beldii-Vlasova, Iosif Kitman. Postmodernism is specific to the creation of Ion Zderciuc, Dumitru Verdianu, Valentin Vârtosu, Iurie Platon. Thus, during its evolution, the Moldovan sculptural portrait demonstrates various similarities with the works of the great masters and with the stylistic influences of world art, keeping, however, its independent, creative and original character in its approach.

Works of architecture and stone sculpture would never have been created without the existence of a supply network enabling access to assets crucial for their production, including stone. Based on archive quarries and analysis of existing works of architecture and stone sculpture, this article focuses on the importation of stone for the building and stonecutting industry in early modern Gdańsk. In the second half of the 16th and the first half of the 17th century the city was experiencing an era of economic prosperity and became a major center of architecture and stone sculpture in the Baltic region and the Polish-Lithuanian Commonwealth. The Gdańsk authorities put much effort into securing suitable stone necessary to carry out their ambitious projects. Builders and sculptors based in the Baltic metropolis applied various kinds of stone imported from abroad, including limestone from Oland and Sweden, sandstone quarried in Bückeburg and Bentheim, Belgian marble, and English alabaster. The kind of stone most commonly used in local architecture and sculpture was, however, the sandstone from the Isle of Gotland. To obtain this material the city authorities often approached the Danish king, as revealed by numerous letters preserved in Gdańsk and Copenhagen archives. Each year several shipments of Gotland stone would arrive in the city, the amount of stone reaching up to 10,000 cubic feet. Some of the material destined for the public building works was then prepared by workers supervised by the ‘Bauknecht’. He was an official appointed by the city authorities to support the public building industry and to facilitate the work of specialized building and sculpting workshops by overlooking low-skilled workers and supply of materials. Some of the local builders and stonecutters were also involved in the importation of stone from Gotland. Besides carrying out major architectural and sculptural works, at least some of the guild masters running large workshops were engaged in the supply of necessary materials. For this reason, they had to maintain a network of professional contacts within the Baltic region and beyond. The most prominent among them was Willem van der Meer, called Barth, a stonecutter from Ghent established in Gdańsk. Between roughly 1590 and 1610, he supplied the city with a large amount of Gotland stone, including that used for the building of the Great Arsenal. Other important members of the local milieu engaged in the stone trade were Willem and Abraham van den Blocke as well as Wilhelm Richter, continuator of Van den Blocke’s enterprise often engaged by the city authorities. These findings broaden our understanding of the professional practices of builders and stone sculptors in Gdańsk and the Baltic region in the late 16th and in the 17th centuries.

Introduction. The work is devoted to an extraordinary person - the sculptor and artist Ivan Illarionovich Sevryugin (1839-?), his contribution to the organization, holding and sculptural embodiment of the Anthropological Exhibition of 1879, which became the starting point in the development of anthropology as an exact and natural-historical science and the basis for the creation of the department and Museum of Anthropology. Materials and methods. This study is based on the printed works of the second half of the 19th century, published by the Society of Amateurs of Natural History, Anthropology and Ethnography (OLEAE), in the research of which historical-typological and historical-descriptive methods were used. The main attention was paid to the analysis of materials and documents related to the preparation and holding of the First Anthropological Exhibition in Moscow in 1879. Archival documents from the Research Institute and the Museum of Anthropology and literary sources were also studied. Results and discussion. The work examines the creative path of the sculptor and artist I.I. Sevryugin. Coming from a poor family of guild artisans, Ivan Illarionovich received an excellent education at the Moscow School of Painting and Sculpture. Studied under Professor N.A. Ramazanov. During his studies, he was repeatedly awarded for his work and upon graduation received the title of third-degree artist. Along with famous sculptors and artists, he took part in the production of collections of mannequins for the Ethnographic Exhibition of 1867. The most significant peak of his activity was the First Anthropological Exhibition of 1879. The development of the exhibition model, its sculptural embodiment, collection and preparation of exhibits (mounds, burial grounds, masks, busts, etc.), a trip to Paris and much more - all this shows him as an incredibly talented person who masters a variety of artistic and sculptural techniques, who was hard working and earned the highest praise from specialists. Conclusion. Analysis of archival and literary sources showed that I.I. Sevryugin, being a talented artist and an excellent sculptor with a colossal capacity for work, took an active part in the preparation of the Anthropological Exhibition of 1879, and contributed to the solution of one of its main tasks - the popularization of anthropology in Russia. Thanks to his talent, he was able to express scientific ideas in artistic form. His works, exhibited in the gallery halls of the Exhibition, clearly showed the general public the unity of the biological and social in human nature. Collections created by I.I. Sevryugin, formed the basis of the sculptural fund of the photo-illustrative department of the Museum of Anthropology of Moscow State University.

AbstractThe article starts by taking stock of research into North and South Netherlandish professional embroidery in the sixteenth and seventeenth centuries. Such embroidery, which was rarely or never signed, and much of which has been lost, has hitherto been studied largely on stylistic grounds and grouped around noted schools of painting. Classifications include 'circle of Jacob Cornelisz van Oostsanen', for instance, or 'Leiden school/influence of Lucas van Leyden'. The author advocates a more relative approach to such classification into schools. She suggests that only systematic archive research in each location can shed new light on the production of embroidery studios and that well-founded attributions hinge solely on such research. The embroidery produced in Utrecht between 1500 and 1580 is cited as an example. The invoices of Utrecht parish and collegiate churches from circa 1500 to the Reformation record not onlv commissions to painters, goldsmiths and sculptors but also many items referring to textiles, notably embroidery. Together they provide a clear and relatively complete picture of the activities of sixteenth-century Utrecht embroiderers, whose principal customers were the churches. The items in question moreover exemplify the craft of the North Netherlandish embroiderer in that period in general in terms of what was produced as well as of the method and position of these artistic craftsmen, who were less overshadowed by painters than is generally assumed. A brief introduction outlining the organization of professional Utrecht embroiderers, who became independent of the tailors' guild in 1610 and acquired their own warrant, is followed by the analysis of an order from the Buurkerk in Utrecht for crimson paraments in 1530: three copes, a chasuble and two dalmatics. The activities of all those involved in their production are recorded : the merchants who supplied the fabric, the tracers of the embroidery patterns, the embroiderer, the cutter, various silver-smiths and the maker of the chest in which the set of garments was kept. The embroiderer was the best-paid of all these specialists. It is interesting to note that some Utrecht guild-members worked free of charge on these paraments, and that the collection at the first mass at which they were worn was very generous. There were probably political reasons for this: some of the donators, Evert Zoudenbalch and Goerd van Voirde, had been mayors at the time of the guild rebellion in Utrecht, and the Buurkerk was the parish church where the guild altars stood. After this detailed example the author discusses Utrecht embroiderers known by name and their studios,comparing them with a list of major commissions carried out for churches in Utrecht (appendix I). It transpires that in each case one studio received the most important Utrecht orders. This is followed by the reconstruction of three leading figures' careers. First Jacob van Malborch, active till 1525; a contract (1510) with the Pieterskerk in Utrecht regarding blue velvet copes is cited (appendix 11). He is followed by the embroiderers Reyer Jacobs and Sebastiaen dc Laet. Among his other activities, the latter was responsible for repairing and altering the famous garments of Bishop David of Burgundy. Items on invoices arc then cited as evidence that the sleeves of two dalmatics now in the Catharijneconvent Museum, embroidered on both sides with aurifriezes donated by Bishop David, were made by Jacob van Malborch in 1504/1505. This shows that systematic scrutiny of invoices and the results of archive research concentrated on individual embroiderers in a single city, compared with preserved items of embroidery, yield information that can lead to exact attributions to an artist or a studio (figs.4a to c and 5a to c). The Catharijneconvent Museum also possesses a series of figures of saints embroidered by the same hand (fig. 14). Finally, the author points out that a group of embroidered work (previously mentioned by H. L. M. Defoer in the catalogue Schilderen met gouddraad en zyde (1987)) which historical data suggest was done in Utrecht and which was produced in the same period, are almost certain to have come from Jacob van Malborch's studio, despite the lack of archival evidence (figs. 6 to 13).

Environmental factors and climate are the primary factors influencing the microbial colonization and deterioration of cultural heritage in outdoor environments. Hence, it is imperative to investigate seasonal variations in microbial communities and the biodeterioration they cause. This study investigated the surfaces of sandstone sculptures at Wat Umong Suan Phutthatham, Chiang Mai, Thailand, during wet and dry seasons using culture-dependent and culture-independent approaches. The fungi isolated from the sandstone sculptures were assessed for biodeterioration attributes including drought tolerance, acid production, calcium crystal formation, and calcium precipitation. The results show that most of the fungal isolates exhibited significant potential for biodeterioration activities. Furthermore, a culture-independent approach was employed to investigate the fungal communities and assess their diversity, interrelationship, and predicted function. The fungal diversity and the communities varied seasonally. The functional prediction indicated that pathotroph–saprotroph fungi comprised the main fungal guild in the dry season, and pathotroph–saprotroph–symbiotroph fungi comprised the dominant guild in the wet season. Remarkably, a network analysis revealed numerous positive correlations among fungal taxa within each season, suggesting a potential synergy that promotes the biodeterioration of sandstone. These findings offer valuable insights into seasonal variations in fungal communities and their impacts on the biodeterioration of sandstone sculptures. This information can be utilized for monitoring, management, and maintenance strategies aimed at preserving this valuable cultural heritage.

Tudor Cataraga belongs to the generation of the nineties of the last century, who together with his guild colleagues Ion Zderciuc, Valentin Vârtosu or Mihai Damian, directed the national sculpture on a new path of reinterpreting artistic paradigms. With themes and subjects taken from mythology and folk art, from universal art and national literature, they proposed a select artistic language, transforming the sculptural forms into a clear message of national identity. Tudor Cataraga was, in sculpture, different from his contemporaries. He did not seek to conform to the fashion of the time, to accept a certain style or trend, but created his own vision of art and existence.

The creation of the Royal Academies established the beginning of the official regularisation of the artists’s studio and work. This new system was opposed to the traditional training and control of the guild workshops, which led to various disputes between academics and non-academics throughout the kingdom. In this context, this article analyses the accusations between the sculptor Miguel López and the Carpenter’s Guild of Orihuela in 1806, in connection with a reform of an altarpiece in the Saint Augustine’s church in the same city, of which a sketch of its finial has been located. La creación de las Reales Academias constituyó el comienzo de la regularización con carácter oficial del estudio y trabajo de los artistas. Este nuevo sistema se oponía a la formación y control tradicional dependiente de los talleres gremiales, lo que generó diversas disputas entre académicos y no académicos por todo el reino. En este contexto, el presente artículo analiza las acusaciones interpuestas entre el escultor Miguel López y el Gremio de Carpinteros de Orihuela en 1806, a colación de una reforma a un retablo de la iglesia del antiguo convento de San Agustín de la misma ciudad, del que se ha localizado un boceto de su remate.

Historical documentation regarding public festivals and banquets continually acknowledges the alliance of painting, poetry, music, and design, but in contrast to these records, accounts of artists personal revelries remain scarce. This article discusses the festive, social, political, and artistic aspects of notable gatherings that took place over the past five centuries. Among the examples mentioned are the serious gatherings of Baccio Bandinelli's Academy and the meetings of the Dutch Rhetoricians (Rederijkers); the lavish parties of the 16th century artist Rustici and the modern-day Art Students League;the scandalous doings of the Dutch painters guild (Bentvueghels) in Rome and the antics of the Swedish sculptor Sergel. It also touches upon pre- and postwar banquets in Paris,Futurist and Dadaist gatherings, and the socializing of the New York School.

AbstractThis article discusses two academic events devoted to Holocaust studies in which participants became unconsciously involved in re-enacting the behaviour respectively of Holocaust perpetrators, and of victims turning aggressively on each other in a manner reminiscent of ghetto life. In one conference an out-group was created and silenced, while in another an individual became the object of projected guilt and was victimized. These projections were mediated by implied competition between film, sculpture and literature as the medium best suited to Holocaust memorialization. A description of each event is followed by analyses of the dynamics involved, with the support of psychoanalytic literature. Factors which led to the author’s twenty-year delay in publishing the article, which was drafted in 1995, are also examined psychologically.

AbstractThe Altar of the Antwerp Coopers' Guild and Quinten Massy In 1938 two distinguished scholars, Max J. Friedländer and Floris Prims, one a reknowned connoisseur of Early Netherlandish painting and the other an indefatigable digger in the Antwerp archives, published articles that might well have bearing on the same picture, yet have never been connected either then or later. From the evidence collected by Prims (notes 2 to 7) it appears that the Antwerp coopers, after having separated from the joiners with whom they had shared a guild until 1497, obtained an altar of their own in Our Lady's church. A picture standing on this altar is mentioned first in 1655. It is described as representing The 'Afdoening' of Our Lord from the Cross with two doors (the term 'afdoening' being used to describe a Deposition as well as a Lamentation). An inventory of 1660 gives the same description with the addition 'made by Quinten Massys'. The altar survived until about 1680, when a new marble altar with sculpture and paintings was ordered; this was completed by 1684 and the old altar-piece was hung above the entrance door of the guild room without the doors being mentioned. It was sold in 1697 when the guild had run into financial trouble. Half a century later the painter Jacob de Wit still knew of it and described it as showing 'figures smaller than life, Christ taken from the Cross with Our Lady, St Mary Magdalen and others, (....) by Quinten Massys, the second painting he did, not quite as good as the one in the Cirumcision chapel [originally on the altar of the joiners; fig. 2]; it was sold but is still in the town' (note 3,). Friedländer, for his part, concluded that the Lamentation which was to be purchased by the National Gallery of Canada in 1949 'cannot be regarded as anything but an early work by Quentin' (note I). This attribution, which had earlier been refuted by Baldass, was then disputed by Silver (note II). This author considered the Ottawa picture a somewhat later pastiche after a lost Lamentation in Massys' mature style of which a fragment in Berlin, showing s'Lamentation in Ottawa a weeping woman (wrongly called Mary Magdalen), resembles one of the mourning women in the Ottawa Lamention (fig. 7). This theory is however contradicted by the picture's quality and seems to be prompted by a mistaken reconstruction of Massys' early development (see below). Similarities between the Lamentation and other early works that can be ascribed tot Massys (figs 3 and 17) are obvious though the course of his development prior to the great altar-pieces of 1507-1511remains in many respects unclear. When attempting to bring some light to the chronology of Massys' works from about 1491 (when he left Louvain for Antwerp at the age of 25) to 1507, one may take into account three medallions that have been attributed to him, two of them being dated 1491 and one 1495 (notes 18-24). They may be loosely associated with features that recurr in the Lamentation. An Italian-style medal of William Schevez, archbishop of St. Andrews, who stayed for a few months at Louvain in 1491, raises the question of whether the same sitter may be recognised in a painted portrait, which would then be Quinten's earliest datable picture (figs 8 and 9). The portrait of the artist himself, dated 1495 (fig 10), was in great esteem and provided the prototype for a print by Jheronimus Wierix (published by Lampsonius in 1572), where the bust was extended to a half-figure; it was also copied in an oval painting that was reproduced in a work by Frans Francken II (figs. I and IIa) and it was probably that very painting which was owned by the Antwerp guild of St. Luke and was considerd an original self-portrait when it was confiscated by the French in 1794 (and subsequently disappeared). It seems likely that the medallion's date of 1495 provides a terminus post quem for the Ottawa Lamentation. A more precise date may be inferred from the obvious borrowings from the Lamentation found in a large triptych in Lisbon (figs 13 and 14). This work may be attributed to one 'Eduwart Portuga

Esta tesis se centra en el estudio del retablo durante los cincuenta años comprendidos entre 1680 y 1730, período en el que se consolida el barroco en Catalunya. Su estrecha vinculación con las ceremonias litúrgicas explica que la realización de retablos estuviera muy por encima de cualquier otra manifestación escultórica. Se estudian los talleres escultóricos de Barcelona y Vic y dado que los escultores son bastante itinerantes puesto que reciben encargos de distintos lugares entre ellos de Girona y provincia, ha resultado un marco geográfico suficientemente representativo. La escultura barroca catalana, desde la publicación de la importante obra de Cesar Martinell: Arquitectura i escultura barroques a Catalunya, no había sido estudiada con visión de conjunto y durante un período relativamente amplio como se hace ahora, aunque hay algunos estudios monográfiicos a los que se hace referencia en este estudio. Los objetivos fundamentales de esta tesis han sido: l. Estudiar, documental y artísticamente, los retablos conservados, aunque en algunos casos no se ha podido localizar la documentación y el estudio ha sido solamente artístico. 2. Esta documentación y también la localizada correspondiente a retablos desaparecidos, sobre todo durante la guerra civil del 36, ha permitido reconstruir en lo posible lo esculpido durante este período y, además, analizar los aspectos técnicos de la realización de las obras y las condiciones de trabajo de escultores y doradores. La mayor parte de estos aspectos se abordan por primera vez en un estudio sobre escultura barroca catalana. De acuerdo con los objetivos, el estudio, para su análisis se ha dividido en cuatro partes: lª) Aspectos técnicos propiamente dichos de la realización del retablo, desde la traza del retablo hasta su asiento y peritación si procede, sin olvidar los económicos, precios y formas de pago. La 2ª con los aspectos sociales que va desde los gremios y talleres hasta los clientes. Los escultores consiguen Cofradía propia (R. Privilegio de Carlos II, 1680). Al tratarse de obras religiosas, los clientes eran mayoritariamente eclesiásticos y los laicos, en su mayoría, cofradías piadosas, gremios, y, en algún caso, corporaciones municipales. Entre los eclesiásticos destacan varios canónigos de la catedral de Girona y entre las cofradías las del Roser, en especial la del convento de Santa Catalina mártir de Barcelona. La 3ª con datos biográficos de los escultores y doradores estudiados y referencia a sus obras, conservadas y desaparecidas documentadas. El más destacable, Pau Costa (1664-1726), escultor de Vic, ya conocido, pero sobre el que se han corregido datos y obras y se han llevado a cabo bastantes aportaciones en cuanto a importantes obras suyas. La 4ª corresponde al análisis de las obras y se subdivide a su vez en cuatro partes: la primera trata de la descripción arquitectónica y escultórica del retablo; la segunda de su tipología; la tercera de su iconografía y la cuarta del estilo. El estudio de la iconografía ha permitido afirmar que se sigue tanto la tradición, como las directrices de la Contrarreforma. A lo largo de estos cincuenta años se ha seguido la evolución del retablo barroco, empezando por retablos de un barroco incipiente, pasando a un barroco exuberante como el de Pau Costa, uno de los mejores escultores, entre los estudiados, a retablos que anuncian una moderación propia del barroco tardío. Y así hará Costa en su último retablo, el mayor de Cadaqués, que realiza en colaboración con Joan Torras, retablo en el que incumplen seguir la traza del retablo de Santa Clara de Vic, como se les pide en el contrato. El apéndice documental incluye 325 documentos. La mayoría salen por primera vez a la luz pública, con la excepción de documentos que se citan en la bibliografía, publicados por J.Mª. Madurell, Pons Guri y Solà-Morales.<br>This thesis researchs altarpieces, between 1680-1730, when the Baroque Art was consolidated in Catalonia. Their important connections with litugical ceremonies explains that the production of altarpieces was wellahead of any other sculptural expressions. In spite of the research of the sculptural works was about Barcelona and Yic workshops, the sculptors were quite a lot itinerants because they had orders of different places, like Girona and their province, and for that the geographical space has been enough representative. The main objectives ofthis thesis have been: 1. To study, documentary and artistically, the altarpieces survived, although in some cases it has not been possible to find the documents and the study has been only artistically. 2. These documents and also with documents that were founded belonging the altarpieces disappeard, above all during th Civil War of 36, it has allowed to reconstruct as it was able the sculptural altarpieces during this period and, besides, to examine the technical aspects and the work conditions ofthe sculptors and the gilders. Most of these aspects has been dealt now, for the first time, in relation with catalan baroque sculpture. According with the objectives of this research their study has been organized in four parts: lst.) The main technical aspects and economic conditions too; 2nd.) Social aspects, from guilds and workshops to patrons, who were mainly ecclesiastics. The laypeople were brotherhoods, guilds and, occasionally, municipal councils; 3rd.) Biographies of the sculptors and the gilders with mention of their survived and disappeared documented works. The most remarcable, Pau Costa (1664-1726), sculptor from Yic. He was known, but now it has been done new contributions about his important own altarpieces. 4th). The analysis of the altarpieces: l. architectonical and sculptorical descriptions of the altarpieces; 2. tipology; 3. iconography; 4. style. During these fifty years it has been possible to follow the baroque art development, from the altarpieces of the beginning baroque, after exuberant like the Pau Costa altarpieces to altarpieces that announced the late baroque, as the major of Cadaqués. The documental appendix includes 352 documents. The majority has been published now for the first time.

The thesis deals with French sculptors and painters active around 1700 at the Royal Palace in Stockholm. They were summoned from Paris by the architect Nicodemus Tessin the younger (1654–1728). This study analyses the Frenchmen’s professional roles, how Tessin organised their work and the working methods applied in the decoration of the Gallery of Charles XI and the adjoining parade rooms. It also involves questions concerning the artist’s roles and the status of artistic professions at the early modern period. The artisans were a group of some fifteen sculptors, painters, founders and a goldsmith. Several of them were accompanied by family members, some of whom were active in the workshop. In France these sculptors and painters had worked in the Bâtiments du Roi  and particularly at the Gobelins. Although they were not part of the artistic elite at the Académie Royale de Peinture et de Sculpture they had vital knowledge in classical pattern/design, le bon goût and drawing. The artisans were also members of the guild system and were thus permitted to accept private commissions. My aim has been to clarify the artisans’ background in Paris and the recruitment undertaken by the diplomat Daniel Cronström (1655–1719). With regard to their activities in Sweden, it has been important to clarify their conditions in the building organisation at the Royal Palace, including social contexts such as their family situation and the possibility to practise their Catholic faith. Equally important is the professional relationship between the Frenchmen and Tessin, who was appointed Superintendent in 1697. Through detailed archival studies, the working practices and the creative process are analysed, especially the collaboration between Tessin and the painter Jacques Foucquet and the sculptors René Chauveau (1663–1722) and Jacques Foucquet (1639–1731).

San Giacomo at Rialto, a church under the patronage of the Doge, was restored by the State in the years around 1600. Three new altars were financed by three different guilds. The high altar was commissioned by the Casaroli guild and adorned with sculptures. In 1604, Giovanni Stringa listed the statue of St. James as a work by Alessandro Vittoria. However, at this date the artist was certainly too elderly to carve stone sculptures by himself. The investigation of the hitherto little-studied Casaroli Altar may shed new light both on the dynamics of the later Vittoria's workshop and on his closest relatives-assistants.

This chapter relates the known facts of Claude III Audran’s life. Beginning with Audran’s family background in his birthplace Lyon, it continues to discuss his training in Paris. He became a guild master in 1692. Soon afterwards, he found employment at the Bâtiments du Roi, the king’s building department. During Audran’s training, the Académie royale de peinture et de sculpture sought to set itself apart from the Guild. Audran, however, was probably forced to join the Maîtrise to the ongoing financial deficits of the crown. After his reception as a Guild maître, he circumvented Guild restrictions by subcontracting young artists. Audran’s early commissions attracted elite clientele and proved his expertise. Jules-Hardouin Mansart commissioned him to work at the Ménagerie at Versailles.