Relevant bibliographies by topics / Sculpture polychrome

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Sculpture polychrome'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Sculpture polychrome"

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Xiao, Wei. "The Technique of Creating Buddhist Polychrome Sculpture." Scientific and analytical journal Burganov House. The space of culture 15, no. 3 (September 10, 2019): 55–74. http://dx.doi.org/10.36340/2071-6818-2019-15-3-55-74.

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This work focuses on the origin, development, evolution of the Chinese art of polychrome sculpture, as well as philosophical ideas, national specificities, cultural content, a religious concept, artistic specificity and aesthetic ideas manifested in this context. The study provides a picture of how the cultural specificities of China are expressed in art and how spirituality is reflected in works of art. An objective description and complete historical research of the mentioned historical sites increase the available information on them and are meant to strengthen measures intended for their protection. The first comprehensive and detailed analysis of the technology for creating Chinese traditional Buddhist polychrome sculpture is presented in the article.The subject-matter of the artworks, the characteristics of the material used to create them, and the sculpting methods are fully analyzed through the method of a thorough study of the current state of the preserved polychrome sculpture in the Shuanglin Monastery. Two thousand and fifty-four statues of polychrome sculpture, the main of which are Buddha (佛祖), Bodhisattva (菩萨), Heavenly Kings (天王) and Arhat (罗汉) are preserved in the monastery. They are divided into two large groups: circular form sculptures and bas-reliefs. Clay, wood, water, straw, and mineral pigments are the main materials used for the creation of Buddhist polychrome sculptures. Modeling and polychrome painting are two main technologies in the process of making sculptures. Modeling consisted of creating a frame, applying coarse clay and sculpting a large-scale figure, applying medium density clay, applying thin layers of clay and creating details, whitening, bas-relief painting with the chalk-glue mixture, gilding, painting, etc. From the point of view of form, the ancient Chinese Buddhist polychrome sculpture as a work of religious art had to correspond to Buddhist canons. Before starting the process of creating a statue, a craftsman had to make a sketch. During modeling, an artist was guided by the secrets of the craft passed down orally from a teacher to his student and summarized as a technical guide by his predecessors. Statue of Skanda. Dynasty Min. Shuanglin Buddhist polychrome sculpture as a form of fine art with an elaborated form and rich spiritual content perfectly combines technology and artistry.
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Wrapson, Lucy. "Polychrome Sculpture: Meaning, Form, Conservation." Journal of the Institute of Conservation 40, no. 3 (September 2, 2017): 272–73. http://dx.doi.org/10.1080/19455224.2017.1371424.

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Hanspach-Bernal, Ellen. "Polychrome Sculpture: Meaning, Form, Conservation." Journal of the American Institute for Conservation 56, no. 1 (January 2, 2017): 75–77. http://dx.doi.org/10.1080/01971360.2017.1276346.

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Casciaro, Raffaele. "Recensione a Montañés, maestro de maestros, catalogo della mostra a cura di Ignacio Cano Rivero, Ignacio Hermoso Romero e María del Valme Muñoz Rubio." Storia della critica d'arte: annuario della S.I.S.C.A. 1 (2020): 9–23. http://dx.doi.org/10.48294/s2020.001.

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The critical review, recent restorations and an excellent photographic campaign have allowed a new reading of the work of Juan Martínez Montañés, the greatest wood sculptor of the Andalusian Renaissance. The Seville exhibition and its catalog explored themes such as the role of the wood arts in 16th and 17th century Andalusia, the contextual meaning of the art of the retable and the importance of polychromy in Montañés’s sculpture. Some attributions appear less convincing and a summary biographical profile that would have facilitated the reading of the essays and catalog entries is missing. This paper takes its cue from the theme of the exhibition to compare the Italian and Spanish critical tradition on polychrome wood sculpture. In Spain the high consideration for this sector of artistic production has always kept it at the center of the interests of the client and critics, unlike what has happened in Italy.
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Negri, Anita, Marco Nervo, Stefania Di Marcello, and Daniele Castelli. "Consolidation and Adhesion of Pictorial Layers on a Stone Substrate. The Study Case of the Virgin with the Child from Palazzo Madama, in Turin." Coatings 11, no. 6 (May 23, 2021): 624. http://dx.doi.org/10.3390/coatings11060624.

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The study and the restoration of a polychrome limestone statue representing the Virgin with the Child, from Palazzo Madama in Turin (NW Italy) offered interesting conservation issue related to the polychromy on stone. To preserve the pictorial layers, it was necessary to re-establish the cohesion among the different polychrome layers (original and repainted) and the adhesion between polychrome film and the stone substrate. Particular attention was paid to the choice of intervention materials, selected through a preliminary survey of the scientific literature, and then verified by laboratory tests (tape test, colorimetric test, and permeability test). The most suitable product should to be able to penetrate porosity, to consolidate the layers, to make the pictorial film adhere with the stone surface, and to avoid changes in the colour and in the permeability. The material chosen also had to ensure compatibility with the cleaning method that could only take place after the consolidation of the pictorial layers due to the problematic state of preservation. A range of products, characterised by their small particle size and low viscosity, was tested, and a micro-acrylic resin was selected and successfully applied on the polychromy of the sculpture.
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Quintero Balbas, Diego Quintero, Esteban Sánchez-Rodríguez, and Álvaro Zárate Zárate Ramírez. "Holy Corn. Interdisciplinary Study of a Mexican 16th-Century Polychrome Maize Stem, Paper, and Colorín Wood Sculpture." Heritage 4, no. 3 (July 31, 2021): 1538–53. http://dx.doi.org/10.3390/heritage4030085.

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Maize stem sculptures, produced during the 16th and 17th centuries in New Spain (today, Mexico) are a clear example of the convergence of the artistic traditions from the American indigenous populations and European influence. This typology of sculptures is not limited to the Americas, as the examples found in European countries have shown. Therefore, a detailed technological investigation is required to correctly classify them. This work presents the interdisciplinary and multianalytical investigation of a 16th-century sculpture made with a maize stem preserved in Guadalajara city, Mexico. We used a set of techniques, such as CT, SEM-EDX, μ-FTIR, and μ-Raman, to study, from a macro to a micro level, the structure, the polychromy, and the modification of the sculpture. The results showed the use of maize stems, paper, and wood in the construction of the sculpture and the use of the traditional polychromy, as well as the numerous modifications that changed its appearance considerably resulting in its misclassification. We were able to associate the statue with the Cortés workshop (Mexico City region), probably produced in the decade of 1580, and track its liturgical use and historical development through the centuries.
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Tomlinson, Janis. "The Sacred Made Real Spanish Polychrome Sculpture." Sculpture Review 59, no. 1 (March 2010): 28–35. http://dx.doi.org/10.1177/074752841005900104.

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Nagasawa, Ichiro, W. T. Chase, Tsukasa Shida, Naoki Fujita, and Masako Koyano. "CONSERVATION OF A JAPANESE POLYCHROME BUDDHIST SCULPTURE." Studies in Conservation 45, sup2 (October 2000): 23. http://dx.doi.org/10.1179/sic.2000.45.s2.023.

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Manso, Marta, Ana Bidarra, Stéphane Longelin, Sofia Pessanha, Adriana Ferreira, Mauro Guerra, João Coroado, and Luísa Carvalho. "Micro-Analytical Study of a Rare Papier-Mâché Sculpture." Microscopy and Microanalysis 21, no. 1 (September 15, 2014): 56–62. http://dx.doi.org/10.1017/s1431927614013129.

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AbstractThe analysis of a Portuguese “papier-mâché” sculpture depicting Saint Anthony is presented in this case study. Several questions were addressed such as the characteristics of the support, pigments used, and artistic technique in order to establish a possible timeline for its production. Qualitative analyses of the cross-sections and of the paper support were performed by optical microscopy using reflected light. Two polychrome layers from different periods and a rag pulped support were identified on the sculpture. The use of micro X-ray fluorescence and Raman microscopy techniques enabled the differentiation of coloring materials used in both polychromies. Semi-quantitative analyses of the gilded samples were also performed by scanning electron microscopy in combination with energy-dispersive spectroscopy allowing the determination of a common Au–Ag–Cu alloy with differences in the purity of the gold. The identified coloring materials lead us to believe that the sculpture was produced in the 19th century, being overpainted in the first half of the 20th century.
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Freitas, Renato P., Valter S. Felix, Marcelo O. Pereira, Ramon S. Santos, Ana L. Oliveira, Elicardo A. S. Gonçalves, Douglas S. Ferreira, André R. Pimenta, Leandro O. Pereira, and Marcelino J. Anjos. "Micro-XRF analysis of a Brazilian polychrome sculpture." Microchemical Journal 149 (September 2019): 104020. http://dx.doi.org/10.1016/j.microc.2019.104020.

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Dissertations / Theses on the topic "Sculpture polychrome"

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Lureault, Nathalie. "Recherches sur la sculpture romaine polychrome." Paris 4, 2004. http://www.theses.fr/2004PA040285.

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Cette étude porte sur une série de sculptures retrouvées sur le territoire impérial romain, débutant avec le règne d'Auguste et se terminant au Veme siècle. Nous nous bornerons pour cette recherche, aux sculptures polychromes (ronde-bosse et bas-relief), n'appartenant pas au domaine architectural, et ayant un sujet figuré (humains et animaux). Loin d'être un type rare, la sculpture colorée (et/ou dorée) en pierre pose de nombreuses questions. Ainsi, outre les recherches classiques s'intéressant aux répartitions géographiques et chronologiques, ce sujet nous mène vers les questions techniques de la peinture et dorure : pigments, préparation des supports, mais aussi la pose. Une distinction d'ateliers via l'usage de la couleur a aussi été tentée. Plusieurs hypothèses quant au pourquoi de cette coloration, sont possibles. Elles seront détaillées ici. A ces recherches s'ajoute celle concernant une possible signification des ces couleurs ; conception liée directement avec la pensée des Anciens, dans la littérature antique, mais aussi, dans un autre domaine, celui entre autre de la mode vestimentaire. A cela vient s'ajouter un appendice important. Celui-ci comporte divers tableaux et graphiques (chronologiques, géographiques,. . . ) permettant des comparaisons utiles. Un répertoire des citations concernant la polychromie des sculptures complète l'ensemble
This study is about a category of roman sculptures found in the imperial world, from August reign to the 5th century. It is limited to coloured sculptures (statues and relieves) ; out of the architectural ones, and all in rapport with humans or animals illustrations. Not rare, this kind of painted or gilded sculpture, in stone, is a source of questions. So besides the classical searches concerning for example geography or chronology, this search gives some technical answer for painting and gilding : pigments, supports and its preparation,. . . A distinction between craft shops, through the use of colours has been tried too. Some hypotheses about why have coloured those pieces are possible too. They will be described here. For this, a examination about a possible meaning has been done ; idea directly in rapport with the ancient way of thinking, in literature but in other way, to daily fashion too. To finish an appendix completes this study. It contains some histograms and tables, to help the reader for a better comprehension
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Täube, Dagmar. "Monochrome, gemalte Plastik : Entwicklung, Verbreitung und Bedeutung eines Phänomens niederländischer Malerei der Gotik /." Essen : die blaue Eule, 1991. http://catalogue.bnf.fr/ark:/12148/cb37630081t.

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Flynn, Thomas Patrick. "The revival of Chryselephantine sculpture in the nineteenth century." Thesis, University of Sussex, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.481651.

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Bertoni, Cren Nadia. "La sculpture sur bois polychrome des XIe et XIIe siècles en Bourgogne." Thesis, Dijon, 2013. http://www.theses.fr/2013DIJOL030/document.

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Le corpus de sculptures romanes en bois de la région de Bourgogne est réuni pour la première fois dans un catalogue, complété par une documentation photographique et bibliographique. Les vingt-cinq sculptures répertoriées sont étudiées du point de vue stylistique, iconographique, technique. Au XIIe siècle, une véritable école de sculpture en bois monastique semble se déployer dans les limites du duché de Bourgogne, à l’origine d’une grande variété d’apports formels et techniques. Les sculptures les plus représentatives pour la compréhension des nombreux apports sont étudiées dans le détail. Leurs relations stylistiques avec les manuscrits de la renaissance carolingienne, la sculpture ottonienne et la sculpture monumentale contemporaine en pierre sont indiquées par l’analyse des caractéristiques internes qui distinguent les différents langages formels. La description iconographique montre la dénotation précise avec laquelle le sujet sacré est figuré. Les procédés techniques de création sont comparés par l’examen direct des sculptures, et par la récolte des données disponibles. Pour plusieurs œuvres, de nouvelles datations sont proposées ; des sculptures inédites et des artistes précis sont mis en lumière. Les apports de la sculpture sur bois de la région auvergnate sont précisés. La tradition des reliques insérées dans les sculptures est vérifiée par rapport au rôle plus ou moins significatif qu’elle peut avoir dans l’élaboration de la forme. Un chapitre est consacré à la méthodologie de l’étude de la polychromie des sculptures en bois. Les conservateurs-restaurateurs sont investis d’un rôle crucial dans la collecte scientifique des données qui témoignent de l’histoire des techniques artistiques. Des propositions pour améliorer les procédures d’examen et de documentation sont avancées
For the first time, the corpus of Roman wood sculptures from Burgundy is gathered together in a catalogue, with added photographic documents and bibliography. The twenty-five sculptures are listed and studied from a stylistic, iconographic and technical point of view. In the XIIth century, an actual school of monastic wood sculpture seemed to develop within the boundaries of the duchy of Burgundy, bringing a great diversity as far as formal and technical contributions are concerned. The sculptures that are the most representative to help the understanding of those numerous contributions are thoroughly studied. Their stylistic relationships with manuscripts dating back from the Carolingian Renaissance, with the Ottonian sculpture and the contemporary monumental stone sculpture, are pointed out with the analysis of internal characteristics, setting apart different formal languages. The iconographic description shows the specific denotation used in the representation of the holy character. The technical processes of creation are compared through the direct examination of the sculptures and through the collection of usable information. For several pieces, a new dating was suggested; new sculptures and specific artists are brought to notice.The contributions of the wood sculpture from the Auvergne region are specified. The tradition of inserting relics into sculptures is put in relation to the relatively important influence it can have on the building of the shape. One chapter is dedicated to the methodology in the study of wood sculptures’ polychromes. The conservators-restorers play a crucial part in the act of scientifically collecting information attesting the evolution of artistic techniques. Some suggestions are put forward to improve the processes of examination and the collecting of information
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Joulin-Martineau, Monique. "Henry Cros : 1840-1907 : une vision de la sculpture." Paris 1, 2008. http://www.theses.fr/2008PA010525.

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Cette thèse est consacrée a Henry Cros. II fit partie des artistes à l'origine du décloisonnement des catégories entre les arts. Sa double formation lui permettait de maîtriser les technIques de la sculpture et de la peinture, mais, c'est en rompant avec la tradition, qu'il imposa sa vision de la sculpture. Ses recherches personnelles sur les matériaux utilisés dans l'antiquité l'amenèrent à explorer les possibilités de la cire en créant des sculptures inspirées du Moyen Age, qu'il moula et colora dans la masse, puis en peinture, en peignant à l'encaustique, souvent des portraits contemporains. Ensuite, il se tourna vers le verre antique et arriva à mettre au point la pâte de verre. Aussi ductile que la cire, cette matière qu'il moula et colora, toujours dans la masse, lui permit de faire la synthèse de la sculpture et de la. Peinture, comme le montrent ses oeuvres d'inspiration virgilienne : bas-reliefs aux couleurs tendres, masques, vases où la femme a souvent la première place.
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Aguado, Guardiola Elena. "Estudio del rol de los agregados minerales en la formación, envejecimiento y conservación de películas pictóricas al óleo." Doctoral thesis, Universitat Politècnica de València, 2017. http://hdl.handle.net/10251/90462.

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Very few stone sculptures conserve their original polychromy nowadays so the exceptional condition presented by the oil paint film of the Tomb of Chancellor Villaespesa in the Cathedral of Tudela (Spain) here presented as case study suggested that both the chemical-mineral composition of the oil paint films and of the lithotypes chosen for the artists to be in contact with the polichromy, could be responsible for their unexpected durability. When the mechanisms governing these painted structures stability are not understood properly, conservation materials and methods and even environmental conditions can have a dramatic effect in their performance and compromise their stability in the long term. In this study, mock-ups simulating different oil paint layers on the sandstone of the case study have been prepared. Mock-ups with the same oil paint films on other substrates have been made for comparison purpose. After four years of natural ageing, the aggregation of lead and calcium carboxylates have been identified and characterized on some mock-ups by means of the combined use of UV-VIS light microscopy, SEM-EDX and micro FT-IR spectroscopy. pH and conductivity have been measured and monitorized both in the mock-ups and the case study. Saponification reactions, ionomer formation and carboxylate aggregation in lead white or minium oil paint films contributed to make them less acidic, less ionized, less hydrolyzed and less soluble after ageing sandstone or on pine wood at room environmental conditions for four years. The same given paint films became more acid and more ionized after ageing on a glass slide. Understanding the properties of such films, the chemical-physical mechanisms governing their adhesive and cohesive forces, and their surface pH is not easy. Mineral assemblages as well as the availability of ions in the substrate of a given oil paint film containing lead white or minium play a fundamental role in the eventual formation, migration and aggregation of lead and calcium carboxylates not only at their surface but also within the substrate-film interface. Furthermore, monitoring surface pH and conductivity as well as understanding solubility issues and the adhesion forces existing between soils, the paint layer and the substrate is needed when designing any conservation strategy to minimize risks and to preserve the balance acquired by these artworks in time.
Muy pocas esculturas pétreas conservan su policromía original. El excepcional estado en el se mantienen las películas pictóricas al óleo del caso de estudio de esta tesis doctoral (el Sepulcro de Villaespesa de la catedral de Tudela, Navarra, España) sugiere que tanto la composición químico-mineral de la roca seleccionada por sus escultores como la composición de las películas pictóricas al óleo con las que se policromó dicha piedra, podrían ser responsables de su inesperada durabilidad. En el transcurso de esta tesis doctoral se prepararon probetas con distintas películas pictóricas al óleo sobre la arenisca del caso de estudio. Para hacer un análisis comparativo también se prepararon probetas con las mismas películas sobre otros soportes. Se monitorizó el pH y la conductividad el caso de estudio así como de todas probetas. A través del uso combinado de microscopía óptica, SEM-EDX y micro espectroscopía FT-IR se estudió la formación y envejecimiento de las películas al óleo identificó y se caracterizó la agregación de carboxilatos de calcio y plomo en algunas de las películas pictóricas al óleo con pigmentos de plomo. En aquellas películas al óleo con albayalde o minio que envejecieron durante cuatro años sobre substratos de arenisca y madera de pino, las reacciones de saponificación, la formación de ionómeros y la agregación de carboxilatos contribuyeron a generar estratos pictóricos menos ácidos, menos ionizados, menos hidrolizados y menos solubles. Dichas películas pictóricas se tornaron más ácidas e ionizadas tras envejecer, en las mismas condiciones medioambientales, sobre vidrio de microscopio. La comprensión de los mecanismos físico-químicos que gobiernan no solo el pH y la conductividad sino también las fuerzas adhesivas y cohesivas de estas películas a lo largo del tiempo, no es sencilla. Tanto los agregados minerales como la disponibilidad de iones que presentan sus substratos juegan un papel fundamental en la eventual formación, migración y agregación de carboxilatos de calcio y plomo no solo en su superficie, sino también en la interfase substrato-película pictórica. Cuando los mecanismos que gobiernan los equilibrios físico-químicos de estos sistemas pictóricos no se comprenden adecuadamente, los materiales y métodos empleados en su conservación así como las condiciones medioambientales en las que se mantienen pueden tener un efecto dramático en el comportamiento de estos sistemas pictóricos y comprometer su estabilidad a largo plazo.
Molt poques escultures pètries conserven la seua policromia original. L'excepcional estat de conservación en que es conserven les policromies del cas d'estudi d'aquesta Tesi Doctoral (el Sepulcre de Villaespesa de la catedral de Tudela, Navarra, Espanya) sugereix que tant la composició química-mineral i la porositat de les roques seleccionades pels artistes com la composició de les pel·lícules pictòriques a l'oli que van preparar per a policromar la pedra, podrien ser responsables de la seua inesperada durabilitat. Quan els mecanismes que governen els seus equilibris fisicoquímics no han estat compresos adequadament, els materials i mètodes emprats en la seua conservació així com les condicions mediambientals en què es mantenen poden tinder un efecte dramatic al comportament d'aquests sistemes pictòrics i comprometre la seua estabilitat a llarg termini. En aquesta tesi es van preparar provetes amb diferents pel·lícules pictòriques a l'oli sobre l'arenisca emprada en el cas d'estudi. També es van preparar provetes amb les mateixes pel·lícules sobre altres suports per fer una anàlisi comparatiu. Després de quatre anys d'envelliment natural, es va identificar i caracteritzar l'agregació de carboxilats de calci i plom en algunes de les provetes a través de l'ús combinat de microscòpia òptica, SEM-EDX i micro espectroscòpia FT-IR. També es monitarizaren el pH i la conductivitat de les provetes així com del cas d'estudi. En aquelles pel·lícules a l'oli amb blanc de plom o mini que van envellir durant quatre anys sobre substrats de gres i fusta de pi, les reaccions de saponificació, la formació de ionómeros i l'agregació de carboxilats van contribuir a generar estrats pictòrics menys àcids, menys ionitzats, menys hidrolitzats i menys solubles. Aquestes pel·lícules pictòriques es van tornar més àcides i ionitzades després envellir, en les mateixes condicions mediambientals, sobre vidre de microscopi. La comprensió dels mecanismes fisicoquímics que governen el seu pH i la seua conductivitat així com les forces adhesives i cohesives d'aquestes pel·lícules al llarg del temps no és senzilla. Tant els agregats minerals com la disponibilitat de ions que presenten els seus substrats juguen un paper fonamental en l'eventual formació, migració i agregació de carboxilats de calci i plom no només en la seua superfície, sinó també en la interfase substrat-pel·lícula pictòrica.
Aguado Guardiola, E. (2017). Estudio del rol de los agregados minerales en la formación, envejecimiento y conservación de películas pictóricas al óleo [Tesis doctoral no publicada]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/90462
TESIS
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Geary, Angie. "Computer related imaging in conservation : the visualisation in three dimensions of the original and present appearances of European polychrome sculpture using lazer scan data, presented in virtual and enhanced reality environments." Thesis, Royal College of Art, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.565964.

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Preater, Jason. "Francisco Pacheco and polychromy in Seville (1580-1649)." Thesis, University of Bristol, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.300702.

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Howard, Helen Catherine. "The pigments of English medieval wall painting." Thesis, Courtauld Institute of Art (University of London), 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.369503.

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Steyaert, Delphine. "La sculpture polychromée néo-gothique en Belgique vue par la Gilde de Saint-Thomas et de Saint-Luc, 1863-1914." Doctoral thesis, Universite Libre de Bruxelles, 2014. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/209223.

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Ce travail doctoral se penche sur un groupe d’artistes et d’artisans actifs dans la seconde moitié du XIXe siècle dans le domaine de la sculpture, et plus précisément sur la façon dont ceux-ci ont à a fois restauré de nombreuses sculptures médiévales et réalisé des sculptures néo-gothiques. Le sujet a été circonscrit à la sculpture religieuse mobilière en bois, et plus spécifiquement aux statues et aux retables conservés dans des églises gothiques. Une approche multidisciplinaire, entre Moyen Âge et XIXe siècle, a été privilégiée. Les artistes et artisans étudiés (Jules Helbig, Adrien Hubert Bressers, les frères Blanchaert, Jean-Baptiste Bethune) posent les bases du style dit « des Écoles Saint-Luc » ou illustrent des travaux de la seconde génération (Léon Bressers). Ils sont membres de la Gilde de Saint-Thomas et de Saint-Luc et revendiquent, sous l’influence de l’architecte anglais A.W.N. Pugin, un lien exclusif avec l’art médiéval dans leurs réalisations. Au sein de la Gilde, l'étude de l'art médiéval et les discussions sur le mobilier religieux à créer se doublent d'une recherche sur les règles liturgiques (au sujet des autels principalement), de manière à retrouver, autant que possible, les formes et usages anciens tout en restant conforme avec les prescriptions en vigueur. Les membres, et en particulier les personnalités étudiées, participent ainsi au renouveau chrétien de la seconde moitié du XIXe siècle.

Les sculpteurs-restaurateurs et les peintres-restaurateurs sélectionnés visent avant tout une présentation jugée digne des sculptures médiévales qui passent entre leurs mains. Ils sont, pour ce faire, imperméables à toute notion d’authenticité. Les aspects religieux primant et dans un contexte de forte pilarisation, ils adoptent sur cette question une position monolithique, alors même que la réflexion au sujet de la restauration de la sculpture polychromée se développe, notamment au sein de la Commission royale des Monuments. Dans les traitements de restauration, les Blanchaert, les Bressers et Jules Helbig font preuve d’un vrai souci archéologique mais rarement de réflexion critique sur l’opportunité ou pas de reconstituer des éléments lacunaires, sur le bien fondé de l’adjonction des attributs, ou sur les pratiques de décapage et de repolychromie. Ce travail doctoral démontre par ailleurs que les nouvelles polychromies néo-gothiques, en particulier celles confectionnées par les Bressers, sont souvent le reflet, voire des copies, des anciennes polychromies quand elles étaient bien conservées.

Les discussions menées au sein de la Gilde ont eu un impact non négligeable sur la question du démembrement des autels baroques et néo-classiques ainsi que sur la création du nouveau mobilier néo-gothique en Belgique.

L’étude d’une série de retables néo-gothiques apporte de nouvelles clefs de lecture sur la conception des programmes iconographiques globaux, la répartition des retables dans l'espace ecclésial, la typologie des œuvres, la conception des compositions et le style adopté pour les groupes sculptés. L'influence de Pugin a pu être montrée, notamment dans le caractère très hiérarchisé donné aux œuvres, et cela à tous les niveaux de la représentation.

Dans son ensemble, ce travail doctoral offre une contribution significative sur l’historicisme et l’histoire des mentalités.


Doctorat en Histoire, art et archéologie
info:eu-repo/semantics/nonPublished

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Books on the topic "Sculpture polychrome"

1

ICOM Congress. (1993 Washington, D.C.). Polychrome sculpture = Sculpture polychrome. [Washington, D.C.?: ICOM, 1993.

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Abrahams, Ivor. Polychrome sculpture. London: Mayor Gallery, 1989.

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Runggaldier, Astrid. Classic Maya polychrome stucco sculptures from Louisville, Belize. Oxford, England: John and Erica Hedges, 2004.

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Coleman, Carter Joseph, and University of Texas at Austin. Institute of Classical Archaeology, eds. The polychrome grave stelai from the early Hellenistic necropolis. Austin: University of Texas Press, 2011.

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Hellmuth, Nicholas M. Ballgame iconography and playing gear: Late Classic Maya polychrome vases and stone sculpture of Peten, Guatemala. Culver City, CA: International Photographic Archive of Pre-Columbian Art, Foundation for Latin American Anthropological Research, 1986.

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Polychrome Steinskulptur des 13. Jahrhunderts: Beiträge zur Tagung des Naumburg Kollegs vom 13. bis 15. Oktober 2011 in Naumburg/Saale. Görlitz: Verlag Gunter Oettel, 2012.

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Mills, John S. Cleaning, retouching and coatings: Technology and practice for easel paintings and polychrome sculpture : preprints of the contributions to the Brussels congress, 3-7 September 1990. London: International Institute for Conservation of Historic and Artistic Works, 1990.

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Laporte, Gilles. Flickinger: Peintures, sculptures, bois polychrome, bijoux. [Metz]: Editions Serpenoise, 1992.

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Brinkmann, Vinzenz. Die Polychromie der archaischen und frühklassischen Skulptur. München: Biering & Brinkmann, 2003.

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Polychromie hellenistischer Skulptur: Ausführung, Instandhaltung und Botschaften. Petersberg: Michael Imhof Verlag, 2015.

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Book chapters on the topic "Sculpture polychrome"

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Lang, Patricia L., Shawn P. Leary, Rebecca F. Carey, Melissa N. Coffer, Rick E. Hamilton, Amber L. Klein, Randall T. Short, and Philip A. Kovac. "The Spectroscopic Analysis of Paints Removed from a Polychrome Wood Sculpture ofMale Saint." In ACS Symposium Series, 285–99. Washington, DC: American Chemical Society, 2012. http://dx.doi.org/10.1021/bk-2012-1103.ch017.

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Katsaros, Thomas, and Constantinos Vasiliadis. "22. Polychromy in Greek Sculpture." In Handbook of Greek Sculpture, edited by Olga Palagia, 690–724. Berlin, Boston: De Gruyter, 2019. http://dx.doi.org/10.1515/9781614513537-022.

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Męczyńska, Katarzyna, and Anna Michnikowska. "Conservation and Technological Research of a Polychrome Sculpture of Christ on a Donkey from the Workshop of Michel and Gregor Erhart." In Cultural Heritage Science, 183–96. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-11054-3_10.

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Juanes, David, and Livio Ferrazza. "Computed Tomography Studies Applied to Polychromed Sculpture: The Making Process in Three Different Times." In Progress in Cultural Heritage Preservation, 884–93. Berlin, Heidelberg: Springer Berlin Heidelberg, 2012. http://dx.doi.org/10.1007/978-3-642-34234-9_95.

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Castillejo, M., C. Domingo, F. Guerra-Librero, M. Jadraque, M. Martín, M. Oujja, E. Rebollar, and R. Torres. "From the Lab to the Scaffold: Laser Cleaning of Polychromed Architectonic Elements and Sculptures." In Lasers in the Conservation of Artworks, 185–89. Berlin, Heidelberg: Springer Berlin Heidelberg, 2007. http://dx.doi.org/10.1007/978-3-540-72310-7_22.

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"3d Virtual Restoration of Polychrome Sculpture." In Digital Heritage, 511–42. Routledge, 2006. http://dx.doi.org/10.4324/9780080455303-27.

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Hall-van den Elsen, Catherine. "Life at Court: Luisa Roldán in Madrid 1689–1706." In Women Artists in the Early Modern Courts of Europe. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789462988194_ch07.

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Catherine Hall-van den Elsen considers the career of Luisa Roldán (1652–1706), one of Spain’s most renowned female artists, who was appointed Escultora de Cámara (sculptor to the Royal Chamber) to both Kings Carlos II and Felipe V. As the daughter of a well-known Sevillian sculptor, Roldán developed her skills in a busy workshop that produced life-sized polychrome wood sculptures. But when the artist arrived in Madrid with her family in late 1688, she found an uncertain economic environment and a very different market, with reduced demand for the sculpture with which she was familiar. Roldán set about identifying an alternative product to suit the tastes of the royal and noble residents of Madrid’s Corte y Villa, proving herself an able interpreter of religious and political environment.
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"Visualizing Black Sanctity in Early Modern Spanish Polychrome Sculpture." In Envisioning Others: Race, Color, and the Visual in Iberia and Latin America, 51–82. BRILL, 2016. http://dx.doi.org/10.1163/9789004302150_004.

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Bourgeois, Brigitte, and Philippe Jockey. "Ombres et Lumières. La sculpture hellénistique polychrome et dorée de Délos:." In Les arts de la couleur en Grece ancienne... et ailleurs, 143–68. Peeters Publishers, 2018. http://dx.doi.org/10.2307/j.ctv1q26mm2.11.

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Powell, Véronique Gérard. "La sculpture polychrome espagnole dans la France du XIXe et début du XXe siècle." In Les échanges artistiques entre la France et l’Espagne, xve-fin xixe siècles, 223–33. Presses universitaires de Perpignan, 2012. http://dx.doi.org/10.4000/books.pupvd.7812.

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Conference papers on the topic "Sculpture polychrome"

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"VIRTUAL RESTORATION OF A MEDIEVAL POLYCHROME SCULPTURE - Experimentation, Modelization, Validation and Visualization in Spectral Ray-tracing." In Special Session on Art, Science and Technology, Virtual tools for Cultural Heritage. SciTePress - Science and and Technology Publications, 2008. http://dx.doi.org/10.5220/0001100204630470.

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Chacón, José Luis. "El lugar del arte en arquitectura. Los “lieux porte-voix, porte-paroles, haut-parleurs” de Le Corbusier en su discurso del Convegno Volta, 1936." In LC2015 - Le Corbusier, 50 years later. Valencia: Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.810.

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Resumen: En 1936 se celebró en Roma el Convegno Volta dedicado a la relación entre arquitectura y las artes figurativas. Entre los participantes estaba Le Corbusier quien presentó una ponencia donde claramente explica los fundamentos del lugar del arte en arquitectura, aspecto clave de su posterior Synthèse des arts. Luego de un manifiesto sobre la Arquitectura Moderna, Le Corbusier afirma que en ocasiones excepcionales puede darse la “colaboración” entre arquitectura y arte con el fin de “aumentar el placer de los hombres”. Dirige su atención a la pintura, la escultura y el diseño; y plantea como respuesta la policromía y los puntos “precisos y matemáticos” donde el artista “fuerte y digno” puede hablar y hacer sentir su discurso. Estos lugares del arte son comunicantes: “lieux porte-voix, porteparoles, haut-parleurs”; aun inexistentes entonces pero que se verán realizados años después, en la idea de la Synthèse des arts. Abstract: In 1936 the Convegno Volta took place in Rome and it was dedicated to discuss the relationship between architecture and the figurative arts. Among the participants there was Le Corbusier, who presented a speech where he clearly establishes the fundamentals of the place of art in architecture, a key point in his later Synthèse des arts. After a manifesto of Modern Architecture, Le Corbusier states that in certain exceptional cases there can be “collaboration” between architecture and art, with the scope of “increasing human pleasure”. His attention is placed upon painting, sculpture and design; and as a response he proposes polychromy and “precise and mathematic points” where a “strong and worthy” artist can speak and let his discourse be felt. These places are communicative: “lieux porte-voix, porte-paroles, haut-parleurs”. Although inexistent then, they will be materialized years later in the way of the idea of the Synthèse des arts. Palabras clave: Arte, Arquitectura, Convegno Volta, Le Corbusier, Síntesis de las artes. Keywords: Art, architecture, Convego Volta, Le Corbusier, Synthesis of the arts. DOI: http://dx.doi.org/10.4995/LC2015.2015.810
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