Gold and ivory. Paris, Pisa, Florence, Siena 1250-1320.
Snoeck| N° d'inventaire | 19415 |
| Format | 23.5 x 29.5 |
| Détails | 320 p., color and black and white illustrations, hardcover. |
| Publication | Paris, 2015 |
| Etat | Nine |
| ISBN | |
The second half of the 13th century and the beginning of the 14th century were marked by decisive developments in Europe, both politically, economically, and socially, as well as intellectually and artistically. The renewal of thought changed the understanding of the world, and therefore the ways of representing it. At the same time, the arts experienced significant technological innovations and the emergence of some very important personalities: Nicola and Giovanni Pisano, Tino di Camaino, and the goldsmith Guccio di Mannaia for Tuscany; Jean de Chelles, Pierre de Montreuil, and Maître Honoré in France. Gradually, all these creators were no longer simply considered artisans in the service of the Church but rather as artists working for society. This period occupies a special place in the history of art: that of a complex apogee, very different depending on the perspective from which one looks. On the one hand, Paris, the heart of what is today called the Rayonnant Gothic period, with its great monumental construction sites and its abundant production of precious objects (illuminated manuscripts, ivories, goldwork); on the other, Tuscany with Florence, Pisa and Siena, whose painters and sculptors departed from Byzantinizing traditions in favor of a new language, characterized by a new view of Antiquity and a consideration of Nature, foreshadowing the style of the Early Renaissance. Now, if these developments developed first in Tuscany, they probably had their roots in the new philosophical, theological, mathematical or literary references disseminated within the University of Paris. We then observe a whole interplay of reciprocal influences that this exhibition and this catalog intend to study.
The second half of the 13th century and the beginning of the 14th century were marked by decisive developments in Europe, both politically, economically, and socially, as well as intellectually and artistically. The renewal of thought changed the understanding of the world, and therefore the ways of representing it. At the same time, the arts experienced significant technological innovations and the emergence of some very important personalities: Nicola and Giovanni Pisano, Tino di Camaino, and the goldsmith Guccio di Mannaia for Tuscany; Jean de Chelles, Pierre de Montreuil, and Maître Honoré in France. Gradually, all these creators were no longer simply considered artisans in the service of the Church but rather as artists working for society. This period occupies a special place in the history of art: that of a complex apogee, very different depending on the perspective from which one looks. On the one hand, Paris, the heart of what is today called the Rayonnant Gothic period, with its great monumental construction sites and its abundant production of precious objects (illuminated manuscripts, ivories, goldwork); on the other, Tuscany with Florence, Pisa and Siena, whose painters and sculptors departed from Byzantinizing traditions in favor of a new language, characterized by a new view of Antiquity and a consideration of Nature, foreshadowing the style of the Early Renaissance. Now, if these developments developed first in Tuscany, they probably had their roots in the new philosophical, theological, mathematical or literary references disseminated within the University of Paris. We then observe a whole interplay of reciprocal influences that this exhibition and this catalog intend to study.