Littérature scientifique sur le sujet « Gothic sculpture in Lombardy »
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Articles de revues sur le sujet "Gothic sculpture in Lombardy"
Holladay, Joan A. « Encounter : Gothic Sculpture in America ». Gesta 53, no 2 (septembre 2014) : 121–24. http://dx.doi.org/10.1086/677322.
Texte intégralKahn, Deborah. « Gothic Sculpture, 1140-1300.Paul Williamson ». Speculum 75, no 1 (janvier 2000) : 260–61. http://dx.doi.org/10.2307/2887489.
Texte intégralLong, Jane C., et Anita Fiderer Moskowitz. « Italian Gothic Sculpture, c. 1250-1400 ». Sixteenth Century Journal 32, no 3 (2001) : 807. http://dx.doi.org/10.2307/2671531.
Texte intégralHorner, Avril, et Sue Zlosnik. « Agriculture, Body Sculpture, Gothic Culture : Gothic Parody in Gibbons, Atwood and Weldon ». Gothic Studies 4, no 2 (novembre 2002) : 167–77. http://dx.doi.org/10.7227/gs.4.2.7.
Texte intégralPinkus, Assaf. « Imaginative Responses to Gothic Sculpture : the Bamberg Rider ». Viator 45, no 1 (janvier 2014) : 331–60. http://dx.doi.org/10.1484/j.viator.1.103794.
Texte intégralLutz, Gerhard. « Recent Research on Late Gothic Sculpture in Germany ». Speculum 80, no 2 (avril 2005) : 494–502. http://dx.doi.org/10.1017/s0038713400000075.
Texte intégralZorach, Rebecca, et William H. Forsyth. « The Pieta in French Late Gothic Sculpture : Regional Variations. » Sixteenth Century Journal 27, no 3 (1996) : 879. http://dx.doi.org/10.2307/2544076.
Texte intégralCatterson, Lynn. « Book Review : Italian Gothic Sculpture, c.1250-c.1400 ». Forum Italicum : A Journal of Italian Studies 36, no 1 (mars 2002) : 212–13. http://dx.doi.org/10.1177/001458580203600115.
Texte intégralFreni, Giovanni. « Italian Gothic Sculpture, c. 1250-c. 1400. Anita Fiderer Moskowitz ». Speculum 78, no 2 (avril 2003) : 576–78. http://dx.doi.org/10.1017/s0038713400169337.
Texte intégralGillerman, Dorothy. « The Pietà in French Late Gothic Sculpture : Regional Variations.William H. Forsyth ». Speculum 72, no 1 (janvier 1997) : 147–49. http://dx.doi.org/10.2307/2865894.
Texte intégralThèses sur le sujet "Gothic sculpture in Lombardy"
Marx, Nadia Lares. « Images of Adam and Engagements with Antiquity in Romanesque and Gothic Sculpture ». Thesis, Harvard University, 2016. http://nrs.harvard.edu/urn-3:HUL.InstRepos:33493288.
Texte intégralHistory of Art and Architecture
Plein, Irene. « Die frühgotische Skulptur an der Westfassade der Kathedrale von Sens ». Münster : Rhema, 2005. http://catalog.hathitrust.org/api/volumes/oclc/61766567.html.
Texte intégralBenker, Maximilian. « Ulm in Nürnberg Simon Lainberger und die Bildschnitzer für Michael Wolgemut / ». Weimar : VDG, Verlag und Datenbank für Geisteswissenschaften, 2004. http://catalog.hathitrust.org/api/volumes/oclc/57729582.html.
Texte intégralDrapeau, Samuel. « L'église Saint-Michel, la fabrique d'un monument : étude historique, artistique et archéologique de l'église Saint-Michel de Bordeaux ». Thesis, Bordeaux 3, 2016. http://www.theses.fr/2016BOR30041.
Texte intégralThe 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
Harwood, Jarel M. « .(In|Out)sider$ ». BYU ScholarsArchive, 2014. https://scholarsarchive.byu.edu/etd/3967.
Texte intégralBoisset, Thermes Sandrine. « La sculpture en Savoie : ateliers, artistes et commanditaires à Chambéry et dans sa région : vers 1480 - vers 1530 ». Thesis, Université Grenoble Alpes (ComUE), 2015. http://www.theses.fr/2015GREAH006.
Texte intégralDespite 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
Doudeau-Cheutin, Claudie. « L'aile Louis XII du Château de Blois , son décor sculpté à l'aube de la Renaissance ». Thesis, Tours, 2012. http://www.theses.fr/2012TOUR2032.
Texte intégralAs 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
Pernuit, Claire. « Une relecture de la cathédrale de Sens : (1130-1550) ». Thesis, Dijon, 2015. http://www.theses.fr/2015DIJOL016.
Texte intégralThis 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
Fumanal, i. Pagès Miquel Àngel. « La pedra de Girona. L'esclat de l’escultura arquitectònica i cultual, 1300-1350 ». Doctoral thesis, Universitat de Barcelona, 2019. http://hdl.handle.net/10803/669955.
Texte intégralAround 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.
Jeudy, Fabienne. « L'architecture religieuse en Haute-Saône à l'époque gothique : (de la fin du XIIe siècle au début du XIVe siècle) ». Thesis, Besançon, 2011. http://www.theses.fr/2011BESA1020.
Texte intégralThe 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
Livres sur le sujet "Gothic sculpture in Lombardy"
Il crepuscolo della scultura medievale in Lombardia. Firenze : L. S. Olschki, 2004.
Trouver le texte intégralGiuseppe, Fusari, et Rossi Massimo, dir. Sulle tracce di Mantegna : Zebellana, Giolfino e gli altri : sculture lignee tra Lombardia e Veneto, 1450-1540. Castel Goffredo (Mantova) : Gruppo San Luca ONLUS, 2004.
Trouver le texte intégralPope-Hennessy, John Wyndham. Italian Gothic sculpture. New York : Vintage Books, 1985.
Trouver le texte intégralWyndham, Pope-Hennessy John. Italian Gothic sculpture. London : Phaidon Press, 2000.
Trouver le texte intégralGothic sculpture, 1140-1300. New Haven : Yale University Press, 1995.
Trouver le texte intégralGothic : Architecture, sculpture, painting. Potsdam, Germany : H.F. Ullmann, 2010.
Trouver le texte intégralSauerländer, Willibald. Cathedrals and sculpture. London : Pindar Press, 1999.
Trouver le texte intégralVictoria and Albert museum. Northern Gothic sculpture, 1200-1450. [London] : The Museum, 1988.
Trouver le texte intégralRolf, Toman, dir. The art of Gothic : Architecture, sculpture painting. Cologne : Konemann Verlagsgesellschaft, 1999.
Trouver le texte intégralRolf, Toman, et Bednorz Achim 1947-, dir. The Art of Gothic : Architecture, sculpture, painting. Köln : Könemann, 1999.
Trouver le texte intégralChapitres de livres sur le sujet "Gothic sculpture in Lombardy"
Neville, Kristoffer. « Frederik II’s Gothic Neptune for Kronborg ». Dans Sculpture and the Nordic Region, 12–23. New York : Routledge, 2016. : Routledge, 2017. http://dx.doi.org/10.4324/9781315088242-2.
Texte intégralJung, Jacqueline E. « France, Germany, and the Historiography of Gothic Sculpture ». Dans A Companion to Medieval Art, 513–46. Hoboken, NJ, USA : John Wiley & Sons, Inc., 2019. http://dx.doi.org/10.1002/9781119077756.ch22.
Texte intégralFeltman, Jennifer M. « The Afflicted Body of Job and the Aesthetic of Wholeness in Gothic Sculpture ». Dans The Routledge Companion to Art and Disability, 149–67. New York : Routledge, 2022. http://dx.doi.org/10.4324/9781003009986-12.
Texte intégralStoddard, Whitney S. « Late Gothic Sculpture ». Dans Art and Architecture in Medieval France, 335–42. Routledge, 2018. http://dx.doi.org/10.4324/9780429494130-33.
Texte intégralStoddard, Whitney S. « Early Gothic Sculpture and Painting ». Dans Art and Architecture in Medieval France, 153–64. Routledge, 2018. http://dx.doi.org/10.4324/9780429494130-17.
Texte intégralStoddard, Whitney S. « High Gothic Sculpture and Painting ». Dans Art and Architecture in Medieval France, 253–76. Routledge, 2018. http://dx.doi.org/10.4324/9780429494130-27.
Texte intégral« Secret Signals : The Meaning of Clothing in Sculpture ». Dans Early Gothic Column-Figure Sculpture in France, 17–104. Routledge, 2017. http://dx.doi.org/10.4324/9781315094762-2.
Texte intégral« Introduction ». Dans Early Gothic Column-Figure Sculpture in France, 1–15. Routledge, 2017. http://dx.doi.org/10.4324/9781315094762-1.
Texte intégral« Structures of Power : The Support of the Peers ». Dans Early Gothic Column-Figure Sculpture in France, 105–36. Routledge, 2017. http://dx.doi.org/10.4324/9781315094762-3.
Texte intégral« Good Business : Commerce in the North ». Dans Early Gothic Column-Figure Sculpture in France, 137–61. Routledge, 2017. http://dx.doi.org/10.4324/9781315094762-4.
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