‎VIARDOT L.‎
‎LA SCULPTURE‎

‎La sculpture décorative moderne. 1ère série. Documents réunis par Henri Rapin.‎

‎ 1925 P., Ch. Moreau, 1925, 42 X 32 cm.( Rousseurs éparses). ‎

‎Bien complet des 32 planches.Oeuvres de Bernaux, Béligant et Fesneau, Binquet, Bouchard, Bouraine, Bourdelle, Chassaing, de Bardyere, Gallerey, Gauvenet, Guénot, Hairon, Jallot, Lalique, Le Bourgeois, Malclès, Joël et Jan Martel, Max Blondat, Follot, "Sad", Sue et Mare, Véra et J. Martin. ‎

‎Bibliographie méthodique et raisonnée des Beaux-Arts. Esthétique et histoire de l'Art, Archéologie, Architecture, Sculpture, Peinture, Gravure, Arts Industriels, etc, etc.Accompagnée de tables alphabétiques et analytiques. ‎

‎ P., Librairie Firmin-Didot, 1874 et 1877, 2 volumes ,In-8, br., XII-288 pp. ‎

‎1921. Architectures. Recueil publié sous la direction de Louis Süe et André Mare. Comprenant un dialogue de Paul Valery et la présentation d'ouvrages d'architecture, décoration intérieure, peintures, sculpture et gravure contribuant depuis mil neuf cent quatorze à former le style français.‎

‎ P., Editions de la Nouvelle Revue Française, 1921, grand In-folio, 52 X 38 cm, br., sous chemise demi-maroquin brun à bandes et rabats , étui signé Alix. ‎

‎Edition originale tirée à 500 exemplaires numérotés sur vélin pur fil des papeteries Navarre, celui-ci porte le Numéro 1, nominatif pour Pierre Picard.Avec "Eupalinos ou l'architecte" de Paul Valéry en pré-originale. 40 planches reproduisant des intérieurs Art Déco conçus par Louis Süe et André Mare dont certaines en couleurs par Roger de la Fresnaye ( tableau traduit en gravure), André Mare, Jacques Villon, Marie Laurencin ( tableau traduit en gravure), Boussingault ( Litho originale), Paul Véra, A.-D. de Segonzac ( Eau-forte originale), Richard Desvallières ferronnier d'art, Louis Süe, P. Poisson, Jean-Emile Laboureur ( burin original).28 gravures ornementales de Louis Süe, André Mare, Paul Véra, gravures de Chapron.Les croquis figurant sur les planches sont de J.-L. Boussingault, Bernard Boutet de Monvel, Jacques Villon, Louis Süe, L.-A. Moreau, etc...Exceptionnel exemplaire : toutes les gravures ornementales ainsi que les 40 planches sont signées à l'encre par les artistes sauf celles de R. de La Fresnaye, J. Villon et Chapron. ‎

‎Emerging Naturalism: Contexts and Narratives in European Sculpture 1140-1220‎

‎, Brepols - Harvey Miller, 2020 Hardcover, 436 pages, 156 b/w ill. + 18 colour ill., 220 x 280 mm, Languages: English. ISBN 9782503574486.‎

‎For many decades, specialists in Romanesque and Early Gothic art and architecture have questioned the usefulness of traditional stylistic terminology. It is regarded as having limited relevance insofar as it fails to reflect the complexity and plurality of the period under discussion. Nor does it embrace functional, formal or iconographic specificities. Despite these deficiencies, we still have no better way of referring to the art of the period than Romanesque, Late Romanesque or Early Gothic which we make yet more cumbersome by adding a geographical or political term. Of the various media which were affected by artistic innovation in Europe during the second half of the 12th century, particular attention has been paid to stained glass, manuscript illumination, metalwork and enamel. Monumental sculpture was equally subject to profound change during the period, in addition to developing in directions that were largely independent of other media. As a result, late Romanesque sculpture extends across the period from 1140 to 1220, from Saxony to Galicia, though it is still impossible to encapsulate in a single statement what this complex network represented. However, the attainment of a compelling naturalism does seem to have been a shared aspiration among Latin European sculptors. Emerging Naturalism: Contexts and Narratives in European Sculpture 1140?1220 offers a panoramic analysis of this artistic landscape, focused on a central issue in medieval European artistic production. To narrow this field of study, the book concentrates on the innovations and solutions adopted in the great church workshops of western Europe. Gerardo Boto Varela teaches art history at the Universitat de Girona (Spain), is leader of the international research group Templa, and scientific editor of the journal Codex Aquilarensis. Revista de Arte Medieval. His research concentrates on spatial, pictorial, and liturgical aspects of Spanish ecclesiastical architecture from the tenth to thirteenth centuries, as well as on dynastic tombs and memorial culture in Medieval Iberia. Marta Serrano Coll teaches art history at the Universitat Rovira i Virgili in Tarragona (Spain) and specializes in Medieval architecture and sculpture, particularly in Catalonia. Her research interests include the display of power through artworks and royal patronage in the Iberian Peninsula during the Middle Ages. In addition, she has published in the field of Romanesque sculpture and hagiographical studies. John McNeill teaches at Oxford University?s Department of Continuing Education, and is Honorary Secretary of the British Archaeological Association, for whom he has edited and contributed to volumes on Anjou, King?s Lynn and the Fens, the medieval cloister, and English medieval chantries. He was instrumental in establishing a biennial International Romanesque Conference Series and has a particular interest in the design of medieval monastic precincts. Table of Contents Emerging Naturalism and a New Medieval Morphology ? Herbert L. Kessler I.Shaping Late Romanesque Sculpture. Balance and Perspective The Attainment of a Compelling Naturalism in Sculpture c. 1200 ? Gerardo Boto Varela What is So-Called Late Romanesque Sculpture? ? Xavier Barral i Altet II. Late Romanesque / Early Gothic Sculpture in European Cathedrals (1140?1220) The Role of Burgundy in the Development of the First Column-Statues ? Marcello Angheben Late Romanesque Sculpture and the Cathedrals of South-Western France ? Quitterie Cazes An Enigma Put Aside. The Origin and Interpretation of a Decontextualized Capital from Saint Trophime at Arles ? Juan Antonio Ola eta Around and After 1200. Old and New Concepts of Monumental Sculpture in the German Territories of the Holy Roman Empire ? Claudia R ckert Sculpture and Liturgy: Monuments and Art Histories of Southern Italy (c. 1150?1250 and Beyond) ? Elisabetta Scirocco Old Testament Sacrifice and Thirteenth-Century Tithe: Cain and Abel in the Architectural Sculpture of the Holy Roman Empire ? Stephanie Luther Late Romanesque Sculpture in England. How Far Can the Evidence Take Us? ? John McNeill The Gothic Last Judgment Portal c. 1210. Visual Strategies and Communicative Function ? Bruno Boerner Aesthetics and the Imitation of Antiquity in Early Gothic Sculpture ? Laurence Terrier Aliferis III. Sculptural Visualisations in the Cathedrals of the Iberian Kingdoms (1160?1220) The Reception of Burgundian Models in the Second Half of the Twelfth Century and the Naturalist Redefinition of Romanesque Sculpture in Castile ? Marta Poza Yag e Master Mateo and the Cathedral of Santiago at the End of the Twelfth Century ? Ram n Yzquierdo Peir Late Romanesque Sculpture in the Kingdoms of Leon and Castile: Continuity or Change? ? Jos Luis Hernando Garrido & Antonio Ledesma Romanesque Sculpture in Portuguese Cathedrals: Models, Continuity and Adaptation ? Carla Varela Fernandes & Paulo Almeida Fernandes The Meaning of the Romanesque Sculpture in the C mara Santa at the Cathedral of Oviedo ? C sar Garc a de Castro Vald s Images and Stories: The Transformation of Space in the Cathedrals of the Ebro Valley ? Esther Lozano L pez The Vault Corbels in the Cloister of Tarragona Cathedral: Shaping a New Pictorial Corporeality that Goes Beyond the Late Romanesque ? Gerardo Boto Varela & Marta Serrano Coll‎

‎Current Directions in Eleventh- and Twelfth-Century Sculpture Studies.‎

‎, Brepols, 2011 XII 212 pages., 114 b/w ill., 220 x 280 mm, Languages: English,Paperback,. ISBN 9782503531656.‎

‎Robert A. Maxwell and Kirk Ambrose, Introduction: Romanesque Sculpture Studies at a Crossroads - Jerome Baschet, Iconography beyond Iconography: Relational Meanings and Figures of Authority in the Reliefs of Souillac - Martin Buchsel, The Status of Sculpture in the Early Middle Ages: Liturgy and Paraliturgy in the Liber miraculorum sancte Fidis - Thomas E. A. Dale, The Nude at Moissac: Vision, Phantasia and the Experience of Romanesque Sculpture - Ilene H. Forsyth, The Date of the Moissac Portal - Dorothy F. Glass, (Re)framing Early, Romanesque Sculpture in Italy - Klaus Niehr, Sculpturing Architecture, Framing Sculpture and Modes of Contextualizing the Arts in the Eleventh and Twelfth Centuries - Jose Luis Senra, Between Rupture and Continuity: Romanesque Sculpture at the Monastery of Santo Domingo de Silos - Andrea von ‎