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Freimaurer und Bildhauer im romanischen Burgund: Die neue Ästhetik von Cluny III Set
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- Sofort-KaufenFreimaurer und Bildhauer im romanischen Burgund: Die neue Ästhetik von Cluny III Set
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Standort: Jeannette, Pennsylvania, USA
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eBay-Artikelnr.:166839046293
Artikelmerkmale
- Artikelzustand
- Educational Level
- Adult & Further Education
- Level
- Advanced
- Features
- Dust Jacket, 2 Volume Set
- ISBN
- 9780271003382
Über dieses Produkt
Product Identifiers
Publisher
Pennsylvania STATE University Press
ISBN-10
0271003383
ISBN-13
9780271003382
eBay Product ID (ePID)
76308
Product Key Features
Number of Pages
2384 Pages
Publication Name
Masons and Sculptors in Romanesque Burgundy : the New Aesthetic of Cluny III
Language
English
Subject
Construction / Masonry, Sculpture & Installation, History / Medieval, History / Ancient & Classical, Criticism, Methods & Materials
Publication Year
1990
Type
Textbook
Subject Area
Art, Architecture, Technology & Engineering
Format
Hardcover
Dimensions
Item Height
0.5 in
Item Weight
4.3 Oz
Item Length
11 in
Item Width
8.5 in
Additional Product Features
Intended Audience
Scholarly & Professional
LCCN
82-042784
Dewey Edition
19
Number of Volumes
2 vols.
Illustrated
Yes
Dewey Decimal
726/.7/094443
Synopsis
For nearly a century, archaeologists and art historians studying the great third abbey at Cluny (Cluny III) have "agreed on a set of abstract principles, including its spontaneous generation or revolutionary character, and posited an overseeing genius who selected from non-local sources." In a sweeping revision of that position, this book argues that Cluny Ill is "the building where regional masons of different traditions first combined their talents to develop a new design," and further maintains that the artisans responsible for the masonry of Cluny Ill also created its sculpture. Professor Armi reaches these conclusions through a painstaking analysis of archaeological evidence, such as masons' marks, and a careful "hand analysis" of the site's sculpture, allowing observation of both individual and general design changes, turning points, and stylistic trends. As a result of his investigation of the major Burgundian structures of the period Cluny, Vézelay, Paray-le-Monial, Anzy-le-Duc, Perrecy-les-Forges, etc., the author has established a new chronology for the architecture of the region. He also has identified the careers of the major artists who carved the portal and capital sculpture. His research has even disproved the traditional assumption that sculpture was carved in situ, for his evidence reveals that finished pieces were fitted into the masonry at Cluny III and elsewhere. By focusing on the work of individual masons and on progressive alterations in architectural detail, the author has broken with the method of his predecessors, but there is ample support for both his methods and his conclusions in the book's 400 illustrations. In his use of macrophotography alone, Armi has added a valuable new methodological tool for the comprehension of both architecture and sculpture, but his most important contribution to the field lies in showing that, by working together, two local groups of masons merged their separate traditions to create a magnificent synthesis: the Cluniac High Romanesque style., For nearly a century, archaeologists and art historians studying the great third abbey at Cluny (Cluny III) have "agreed on a set of abstract principles, including its spontaneous generation or revolutionary character, and posited an overseeing genius who selected from non-local sources." In a sweeping revision of that position, this book argues that Cluny Ill is "the building where regional masons of different traditions first combined their talents to develop a new design," and further maintains that the artisans responsible for the masonry of Cluny Ill also created its sculpture. Professor Armi reaches these conclusions through a painstaking analysis of archaeological evidence, such as masons' marks, and a careful "hand analysis" of the site's sculpture, allowing observation of both individual and general design changes, turning points, and stylistic trends. As a result of his investigation of the major Burgundian structures of the period Cluny, Vezelay, Paray-le-Monial, Anzy-le-Duc, Perrecy-les-Forges, etc., the author has established a new chronology for the architecture of the region. He also has identified the careers of the major artists who carved the portal and capital sculpture. His research has even disproved the traditional assumption that sculpture was carved in situ, for his evidence reveals that finished pieces were fitted into the masonry at Cluny III and elsewhere. By focusing on the work of individual masons and on progressive alterations in architectural detail, the author has broken with the method of his predecessors, but there is ample support for both his methods and his conclusions in the book's 400 illustrations. In his use of macrophotography alone, Armi has added a valuable new methodological tool for the comprehension of both architecture and sculpture, but his most important contribution to the field lies in showing that, by working together, two local groups of masons merged their separate traditions to create a magnificent synthesis: the Cluniac High Romanesque style."
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