Art in the time of the Accursed Kings: Philip the Fair and his sons (1285-1328).
NMR| N° d'inventaire | 32817 |
| Format | 23 x 31 |
| Détails | 460 p., numerous illustrations, hardcover with dust jacket. |
| Publication | Paris, 1998 |
| Etat | Occasion |
| ISBN | 9782711835669 |
Two reigns marked the history of Gothic art in France, that of Saint Louis (1226-1270) and that of Charles V (1364-1380). Between the two, a sort of hiatus was established: the emergence of the great cathedrals was then completed, the Rayonnant style continued its refinements without truly renewing itself, the creative genius of the artists seemed to flourish outside the kingdom. Many French works from this period are thus approximately dated "end of the 13th - beginning of the 14th century " or "first half of the 14th century ”. The exhibition Art in the Time of the Accursed Kings. Philip the Fair and his Sons, 1285-1328 , presented at the Grand Palace from March 17 to June 29, 1998, thus made a major contribution to the knowledge of the artistic production of this period. It remarkably complemented the exhibition The Festivities of Gothic, the Century of Charles V (Grand Palais, 1981), which began with the advent of the Valois in 1328. The works presented and the catalogue, divided into twelve sections ranging from architecture to weapons, have allowed us to discover an inventive art and have provided more precise chronological references.
Certainly, religious architecture no longer has the dynamism that characterized it previously, although astonishing churches are being built, such as Albi Cathedral or the collegiate church of Mussy-sur-Seine (Aube). Civil architecture takes over. Paris , the Palais de la Cité for example, built for Philip the Fair, reflects the institutional changes of his reign and brings together not only the Sainte Chapelle of Louis IX and the sovereign's residence, but also the organs of political, administrative and judicial power. This was evoked in the exhibition by statues of seated figures, discovered during work in the basement of the palace in 1899 and presented to the public for the first time.
The multiplication of statues in the round, in the interior and exterior decoration of civil and religious buildings, constitutes in fact one of the particularities of the art of the beginning of the 14th century . Some groups, dispersed following demolitions, such as that of the angels of Saint-Louis de Poissy, were able to be reconstituted. Others, notably the admirable statues commissioned by Enguerrand de Marigny for the collegiate church of Notre-Dame d'Écouis and executed around 1310-1313, benefited from a dazzling display. Sculpture, like other arts, shows that the king, his family and his entourage exercised a patronage that clearly favored a predominance of Parisian art. The preserved accounting and tax documents indicate, however, that the artists who practiced in Paris came from very diverse backgrounds.
In addition, provincial centers coexisted seamlessly and demonstrated vitality, from the north of France to the south and from Normandy to Lorraine and Burgundy. Upon entering the exhibition, a cohort of wooden angels from the northern regions welcomed the visitor with smiling grace. For the most important sections—sculptures, precious arts, manuscripts with paintings—the centers of production were distinguished, as were the few known artists. Pépin de Huy, sculptor to the Countess Mahaut d'Artois, and the painters Master Honoré and Jean Pucelle were represented by most of the works attributed to them. The north of France, from Normandy to Hainaut, was particularly productive and greatly influenced by the Parisian milieu. The regions of the East and Burgundy, and especially Languedoc, have known a more original art, which can be observed as much in the sculpture workshop of Mussy-l'Évêque (Aube) as in the reliquary of the True Cross of Albi or in the Toulouse manuscripts.
Two reigns marked the history of Gothic art in France, that of Saint Louis (1226-1270) and that of Charles V (1364-1380). Between the two, a sort of hiatus was established: the emergence of the great cathedrals was then completed, the Rayonnant style continued its refinements without truly renewing itself, the creative genius of the artists seemed to flourish outside the kingdom. Many French works from this period are thus approximately dated "end of the 13th - beginning of the 14th century " or "first half of the 14th century ”. The exhibition Art in the Time of the Accursed Kings. Philip the Fair and his Sons, 1285-1328 , presented at the Grand Palace from March 17 to June 29, 1998, thus made a major contribution to the knowledge of the artistic production of this period. It remarkably complemented the exhibition The Festivities of Gothic, the Century of Charles V (Grand Palais, 1981), which began with the advent of the Valois in 1328. The works presented and the catalogue, divided into twelve sections ranging from architecture to weapons, have allowed us to discover an inventive art and have provided more precise chronological references.
Certainly, religious architecture no longer has the dynamism that characterized it previously, although astonishing churches are being built, such as Albi Cathedral or the collegiate church of Mussy-sur-Seine (Aube). Civil architecture takes over. Paris , the Palais de la Cité for example, built for Philip the Fair, reflects the institutional changes of his reign and brings together not only the Sainte Chapelle of Louis IX and the sovereign's residence, but also the organs of political, administrative and judicial power. This was evoked in the exhibition by statues of seated figures, discovered during work in the basement of the palace in 1899 and presented to the public for the first time.
The multiplication of statues in the round, in the interior and exterior decoration of civil and religious buildings, constitutes in fact one of the particularities of the art of the beginning of the 14th century . Some groups, dispersed following demolitions, such as that of the angels of Saint-Louis de Poissy, were able to be reconstituted. Others, notably the admirable statues commissioned by Enguerrand de Marigny for the collegiate church of Notre-Dame d'Écouis and executed around 1310-1313, benefited from a dazzling display. Sculpture, like other arts, shows that the king, his family and his entourage exercised a patronage that clearly favored a predominance of Parisian art. The preserved accounting and tax documents indicate, however, that the artists who practiced in Paris came from very diverse backgrounds.
In addition, provincial centers coexisted seamlessly and demonstrated vitality, from the north of France to the south and from Normandy to Lorraine and Burgundy. Upon entering the exhibition, a cohort of wooden angels from the northern regions welcomed the visitor with smiling grace. For the most important sections—sculptures, precious arts, manuscripts with paintings—the centers of production were distinguished, as were the few known artists. Pépin de Huy, sculptor to the Countess Mahaut d'Artois, and the painters Master Honoré and Jean Pucelle were represented by most of the works attributed to them. The north of France, from Normandy to Hainaut, was particularly productive and greatly influenced by the Parisian milieu. The regions of the East and Burgundy, and especially Languedoc, have known a more original art, which can be observed as much in the sculpture workshop of Mussy-l'Évêque (Aube) as in the reliquary of the True Cross of Albi or in the Toulouse manuscripts.