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(MERMOZ Jean)
Sculpture
belle sculpture représentant l’aviateur et produite au moment de sa mort. Signée B.GIRARDET et mentionné sur le socle, Mermoz 1936 (date de sa mort). Plâtre teinté vert mordoré. Taille avec le socle : 18x12x23 cm. Tiré à de nombreux exemplaires, cette sculpture n’est pas si courante que cela et représente bien le grand pilote
Reference : FOS-890
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5 book(s) with the same title
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
LA SCULPTURE ROMANE / La sculpture romane
, Hazan, 2014 Couverture reliee sous jaquette, 440 pages, illustr , 26,00 x 31,00 cm.+ boite /slipcase ISBN 9782754103602.
Une somme exceptionnelle sur la sculpture romane par l?ancien conservateur en chef du d partement des Sculptures du mus e du Louvre. Une iconographie d?une grande qualit photographique. Si la sculpture romane a pu faire l'objet de nombreux ouvrages sur telles coles ou r gions donn es, les livres g n raux sont plus rares. Dans la revue Connaissances des arts = Jean-Ren Gaborit, apr s avoir patronn , en 2005 au mus e du Louvre, une exposition consacr e l'art roman, se devait de nous offrir ce livre en tout point remarquable. partir de chapitres clairement d finis, n' ludant aucune des questions (telles que sources, influences et significations) que soul vent les multiples r alisations romanes, l'auteur parvient offrir au lecteur une synth se tr s dense et vivante faisant un large appel la typologie largie ainsi a tous les types de r alisations dans l'Europe enti re avec, souvent, des oeuvres peu connues du public fran ais, la sculpture romane retrouve ici une grandeur laquelle participent des reproductions de qualit exceptionnelle, qui font aussi de ce livre savant un ouvrage somptueux. M me si la d finition de l?art roman et, plus encore peut- tre, sa d nomination, font l?objet de contestations, le ph nom ne que recouvre ce terme, c'est- -dire le profond renouvellement qui se manifeste, dans toute l?Europe occidentale, entre la fin du Xe si cle et le milieu du XIIe si cle, tant dans l?architecture que dans les autres domaines de la cr ation artistique, appara t comme une vidence. L?une des caract ristiques de ce renouvellement est incontestablement l?importance croissante donn e la sculpture, avec en particulier l?extraordinaire essor de la sculpture monumentale dont on peut voir des t moignages jusque dans les difices les plus modestes. Apr s divers essais, parfois assez timides, durant la p riode dite du premier art roman , la sculpture conna t, d s les derni res d cennies du XIe si cle, un soudain panouissement qui culmine dans la premi re moiti du XIIe si cle avec un grand nombre de r alisations majeures : portails et fa ades, clo tres, d cors int rieurs. Mais la recherche constante de nouvelles formules et, sans doute aussi, la volont d?accompagner les innovations dans l?art de b tir ont amen les sculpteurs multiplier les exp riences ; les rapports entre sculpture et architecture sont ainsi pens s de diff rentes fa ons ; le traitement de la figure humaine volue et l?ornement se diversifie. De nombreux ouvrages ont t consacr s, partiellement ou totalement, la sculpture romane ; parce qu?il est bien difficile de dresser un tableau chronologique coh rent d?un art dont l? volution, sur une p riode relativement br ve, n?a rien de lin aire, l?approche choisie a t essentiellement r gionale, mettant l?accent sur la diversit , bien r elle qui caract rise les principales provinces de l?art roman. Le pr sent ouvrage tente une autre d marche : mettre en valeur, par une analyse plus typologique, ce qui fait l?unit de la sculpture romane : sources d?inspirations communes, recours aux m mes mod les (m me si l?interpr tation en est tr s vari e), adaptation aux m mes sch mas iconographiques, solutions parall les adopt es pour r pondre aux m mes n cessit s. La connaissance de la sculpture romane permet sans doute, du fait de ce m lange d?unit et de diversit , de mieux comprendre la culture de la soci t des XIe et XIIe si cles, soci t marqu e par la violence, que les structures de la f odalit divisent et cloisonnent mais laquelle, en d pit de crises profondes, un certain renouveau conomique et l?omnipr sence de l? glise, travers la constitution du r seau paroissial, l?action des ordres monastiques et les p lerinages, ont donn une r elle unit .
Reference : 100111922
Lot de 10 ouvrages "Le louvre sculpture..": titres voir description détaillée
Éditions s.n.e.p infolio. Sans date. Feuillets mobiles. Sculpture grecque / Sculpture egyptienne / Sculpture romaine / Sculpture du moyen-âge / Sculpture de la renaissance italienne / Sculpture de la renaissance française / Sculpture du XVII siècle / Sculpture du XVIII siècle / Sculpture du XIX siècle / Sculpture orientale
dos frotté chemise légèrement défraîchie feuillet assez propre
La sculpture au musée du Louvre (emboîtage deux) - l'illustration: Sculpture de la Renaissance Italienne + Sculpture du XVIIe siècle + Sculpture du XVIIIe siècle + Sculpture du XIXe siècle + Sculpture Orientale
L'illustration 1955 in folio. 1955. Non relié + emboîtage. La sculpture au musée du Louvre (emboîtage deux) - l'illustration - 5 chemises: Sculpture de la Renaissance Italienne + Sculpture du XVIIe siècle + Sculpture du XVIIIe siècle + Sculpture du XIXe siècle + Sculpture Orientale --- abondante iconographie noir et blanc accompagné de textes descriptifs format in folio
Etat Correct emboîtage frotté taché de rousseurs rousseurs sur chemises qq rousseurs sporadiques sur les documents globalement propre circa 1955
