International Gothic

The pietà from the church of St. Michael the Archangel in Domachowo, a former bishop’s village, has not been studied separately so far. It has been mentioned in two exhibition catalogues during reflections on the most important pietàs associated with the style of the late 14th and early 15th c. This sculpture is linked with a Wrocław workshop and dated from 1400 to the 1430s. It was probably first shown publicly in Gostyń during the 1931 Marian Exhibition. Five years later, thanks to the involvement of students of the history of art at the University of Poznań, it was exhibited in the Museum of Wielkopolska. While it emerged in the scientific discourse at that time, it has never been given more attention. Still, it is undoubtedly a work which deserves a more comprehensive study. This article discusses the pietà of Domachowo and gathers all the existing knowledge about it. Moreover, it describes unpublished technological studies, which led to the rethinking of the knowledge about wooden pietàs dated 1400- 1430, as well as to the establishment of preliminary hypotheses and further research questions, concerning not only the sculpture from Domachowo, but also the whole set of  imilar representations.

En un absis lateral de l’església de Sant Vicenç de Besalú es conserva, molt malmesa després de la Guerra Civil, una singular tomba gòtica, pertanyent a un legista que efectuà una important donació de relíquies santes a l’església. La particular resolució de la imatge jacent tindrà un ressò evident en altres obres sepulcrals posteriors.

In a lateral apse of the church of Sant Vicenç de Besalú, a singular gothic tomb is preserved seriously damaged because of the Civil War. It belongs to a legist who made an important donation of holy relics to the church. The unique resolution of the lying image will have an obvious influence on later sepulchral works.

In 2004, a number of events and exhibitions devoted to the arts in France around the year 1400 highlighted the rich diversity of current research in this area. Recent studies have challenged the validity of the critical term “International Gothic”, and the essentially stylistic approach upon which it is founded. Researchers have addressed a number of new questions, which have profoundly reshaped our knowledge of certain areas of artistic production, notably precious metalwork. The religious, political or ideological functions of objects from this period are now more readily taken into account. Researchers have taken a subtler, more differentiated approach to the study of relationships between artists and their patrons. Alongside the widely recognized importance of royal or aristocratic patrons, new studies highlight the roles played by women, members of the royal court, and prelates, in the commissioning process. We also have a far better understanding of the complex structures and conditions affecting artists working in both courtly and civic contexts in France. Further research is needed to compare these with the conditions that prevailed in other European countries, and to achieve a more precise definition of the particular dynamics affecting French art during this period. Comparative studies of this type would also help us to analyze the dissemination of French designs and models, and to re-examine the question of international artistic exchanges around the year 1400, in a new light.

Il contributo è una sintesi dei primi esiti parziali della mia tesi di laurea sulla riconsiderazione del ciclo di Garello a Castel Roncolo in anticipo, tesi che discuterò a fine giugno 2014 all’Istituto di storia dell’arte della Goethe-Universität di Francoforte, e si basa sulle ricerche da me svolte in loco nell’estate del 2013.

dynastii, budou Lucemburkové patřit k prvým knihám, po kterých většina čtenářů sáhne, a to oprávněně. Nelze však přehlížet poněkud roztříštěný charakter práce, patrný již v mechanickém dělení celé lucemburské epochy na dvě období kolem roku 1378, prvá třetina knihy nadto příliš nekoresponduje se zbývajícími částmi. Vedle toho editoři říkají, že respektovali odlišná pojetí událostí či uměleckých děl, neboť "odstíny v úhlech pohledu" prý "nabízejí vesměs vítané obohacení knihy", stejně jako opakování téhož si prý "žádala celistvost výkladu". Publikace tím však nabývá podoby sborníku statí, nikoli uceleného shrnutí jedné epochy, v němž by autoři respektovali jednotný záměr. Přemyslovský svazek přinesl, přes všechny kritiky, jež vůči němu byly vzneseny, promyšlený obraz čtyř století českých a moravských dějin za vlády jedné dynastie, obraz vedený jednotící myšlenkou "budování státu". Podtitul recenzované knihy Česká koruna uprostřed Evropy v tomto směru mnoho neříká, uprostřed Evropy se nacházíme dodnes. Možná malicherný detail, v každém případě charakteristický. Jednotný ráz by publikaci bezpochyby dodal větší zřetel k dlouhému trvání společenských, mentálních a hospodářských procesů, které zůstaly skryty za proměnlivou kulisou událostí a leskem velkých děl.

El artículo profundiza en la figura de Fernando Yáñez de Figueroa, fundador de la orden de San Jerónimo y primer prior regular del Monasterio de Guadalupe. Su importante patronazgo artístico nos llevará a rastrear el entorno cultural del arzobispo Pedro Tenorio, bajo cuyo auspicio se desarrolló en Toledo a finales del siglo XIV un extraordinario foco de vanguardia del que indudablemente se benefició el prelado guadalupense. En este sentido finalizaremos planteando la intervención del taller toledano de Rovira y Starnina en las pinturas murales de la Capilla de la Magdalena de la Granja de Mirabel, probable empeño personal de Yáñez y uno de los escasos testimonios de pintura trecentista en la Castilla de principios del siglo XV.

Der Aufsatz fasst vorab erste Teilergebnisse meiner Magisterarbeit zur Neubetrachtung des Garelzyklus auf Schloss Runkelstein zusammen, die ich Ende Juni 2014 am Kunstgeschichtlichen Institut der Goethe-Universität Frankfurt am Main einreichen werde, und beruht u. a. auf meinen Recherchen vor Ort im Sommer 2013.

giampaOlO ermiNi, matteO ferrari, mONia maNescalcHi, stefaNO ricciONi, eleNa vaiaNi Sono accettati nella rivista contributi in italiano, francese e inglese. In vista della pubblicazione, i testi inviati sono sottoposti in forma anonima alla valutazione di membri del Comitato scientifico e di referee, selezionati in base alla competenza sui temi trattati. Gli autori restano a disposizione degli aventi diritto per le fonti iconografiche non individuate. Pubblicazione semestrale on line Direttore responsabile: Maria Monica Donato Autorizzazione Tribunale di Pisa n. 15/09 del 18 settembre 2009 sOmmariO allegra iafrate «Artifex specialis»: per una lettura critica della figura di Matthew Paris attraverso le fonti pp. 1-42 matteO ferrari Grixopolo e i dipinti del Palazzo della Ragione di Mantova pp. 43-90 maria luDOvica rOsati «In qual modo si contraffà il velluto, o panno di lana, e così la seta, in muro e in tavola»: stoffe preziose e tessuti serici nell'opera di Simone Martini pp. 91-132 liNDa pisaNi Le due firme del pittore pistoiese Antonio di Vita pp. 133-150 elisaBetta ciONi Nuove acquisizioni sulla bottega 'dei Tondi': un documento e alcuni smalti pp. 151-218 alice caviNatO «Nicolò di Giovanni da Siena à fatto questo libro di sua propia mano e di sua spontana volontà»: note su due manoscritti illustrati senesi del Quattrocento e le loro sottoscrizioni pp. 219-262 micHele tOmasi Artistes de cour en France autour de 1400: institutions, formules et réalités pp. 263-286 cHiara BerNazzaNi La campana civica: tra signum, simbolo e celebrazione visiva pp. 287-392 eliaNa carrara Giorgio Vasari, Giovanni Battista Adriani e la stesura della seconda edizione delle Vite. Ragioni e nuove evidenze della loro collaborazione pp. 393-430

Pere Sanglada és un dels escultors més prestigiosos de la Catalunya de finals del segle xiv i inicis del xv. Els encàrrecs que rebé del Consell i la catedral de Barcelona són un clar reflex de la seva elevada reputació. No obstant això, malgrat que es conserven algunes de les seves obres més importants, existeixen certs punts encara poc clars sobre la seva personalitat artística, especialment, tot allò relatiu al seu període formatiu, així com a les seves fonts o referents estilístics. En aquest treball s'intenta cercar una nova orientació que permeti oferir una mica de llum a aquestes qüestions, amb el suport de documentació inèdita i de noves atribucions.

L'any 1425, la comunitat benedictina de Sant Daniel de Girona va encarregar a Francesc Artau, un dels argenters més importants de l'art gòtic català, la factura d'un bust-reliquiari del sant titular. Aquesta comissió s'emmarca en un context favorable a la revitalització del culte al sant, perquè en una data propera es va realitzar un altre reliquiari, en aquest cas d'un braç de sant Daniel, que s'ha conservat malgrat haver romàs fins ara ignorat.

La presentación de las obras expuestas en la sala 51B del Museo, recientemente remodelada, es el objeto de esta conferencia. A partir de esas obras, comparadas con otras piezas emblemáticas del arte europeo hacia 1400, se propone un recorrido doble: por una parte, una reflexión historiográfica sobre el término “gótico internacional” y su pertinencia actual; por otra parte, un análisis de los principios estéticos de este arte refinado, cortesano y cosmopolita.

https://www.youtube.com/watch?v=5Uno9yrRLNo&t=2780s&ab_channel=MuseoNacionaldelPrado

La scelta artistica di un capitano di ventura: il ciclo arturiano di Frugarolo 25 Marianna Cuomo I plinti affrescati nella Campania altomedievale. La pittura decorativa tra VI e XI secolo 41 Serena Franzon Indossare la fede. Gioielli devozionali nel Quattrocento italiano 53 Martina Giulietti Il singolare fenomeno della produzione scultorea alabastrina nordeuropea nel tardo Medioevo 67 Claudia Sanna Caduta e redenzione: il ciclo scultoreo della chiesa di San Michele di Murato in Corsica (prima metà del XII sec.) 85 -PANEL B: FILOSOFIA -Niccolò Bonetti La teologia della creazione di Matteo d'Acquasparta 101 Raffaele Cioffi Alcune rielaborazioni dei generi agiografico e cristologico nell'Inghilterra anglosassone: il caso del Vercelli Book 113 Davide Penna Videre est esse. Quando la conoscenza diventa amore. Gnoseologia e ontologia in Guglielmo di Saint-Thierry : un osservatorio archeologico per la Toscana dei secoli VI-VIII 159 Assunta Campi La ceramica da fuoco dall'insediamento di Montella (AV). Tipologie del vasellame in uso in una comunità del IX secolo 177 Federica Cosenza Il sistema dei casali della campagna romana: problemi e metodologia d'indagine 189 Matteo Crocchianti I riusi di tipo funerario delle strutture e degli spazi di Età romana tra la Tarda Antichità e l'Alto Medioevo 205 Lorenzo Curatella Le necropoli basso medievali italiane 219 Elisa Del Galdo, Silvia Lusuardi Siena Le sepolture nella cattedrale paleocristiana e medievale di Luni (SP) 231 Elena Dellù, Federica Matteoni, Silvia Lusuardi Siena Il sepolcreto nella chiesa dei SS. Filippo e Giacomo di Nocetum (MI): dinamiche deposizionali tra altomedioevo ed età moderna 245 Iolanda Donnarumma Un impianto metallurgico del IX secolo dalla Rasola 1 del castello del Monte a Montella: la trincea 5/87 265 Alessia Frisetti La valle del Volturno nel Medioevo: insediamenti e realtà materiale (VIII-XII secolo) 279 Sabina Giuliano Il castello di Rocca Cilento (SA) nel circuito difensivo del territorio cilentano. Dall'indagine archeologica alla valorizzazione: prospettive di sviluppo 297 Lester Lonardo Castella et casalia. Insediamenti fortificati e rurali nella bassa valle del Calore: evidenze materiali e documentarie 307 Federica Matteoni Edilizia storica nella Provincia di Bergamo: considerazioni preliminari sulle tecniche costruttive, le dinamiche insediative e sociali 327 Alessandro Mortera Trasformazioni del paesaggio urbano nell'area del Foro Romano alle soglie del Medioevo: il caso della Basilica Aemilia 343 Luigi Quattrocchi Il fenomeno del mosaico funerario in Italia e isole maggiori nei secoli IV-VII 367

Kastorian workshop (1480-1510) and early italian art. Contribution to the planning of autonomous learning during the covid-19 period

Το θέμα της παρούσας μελέτης είναι διττής φύσης. Από τη μια πλευρά, σχετίζεται με την παρουσίαση των στοιχείων της Πρώιμης Ιταλικής Αναγέννησης («διεθνές γοτθικό στυλ») που συναντώνται στη ζωγραφική παραγωγή ενός πολύ ιδιαίτερου κύκλου καλλιτεχνών με κέντρο την πόλη της Καστοριάς – και εν συνεχεία με επιρροή σε όλο το χώρο της Βαλκανικής – κατά τη Μεταβυζαντινή Περίοδο (1480-1510). Πιο συγκεκριμένα, μεταξύ άλλων, δίνεται το χρονικό και γεωγραφικό πεδίο δράσης του «Εργαστηρίου», ενώ παράλληλα αναλύονται ευσύνοπτα βασικά στοιχεία συγκρότησής του, με έμφαση στα χαρακτηριστικά που υιοθετήθηκαν από τη ζωγραφική της Δύσης κατά το Trecento και το Quattrocento, τόσο σε επίπεδο τεχνοτροπίας, όσο και σε επίπεδο θεματικής ποικιλίας. Από την άλλη πλευρά, γίνεται λόγος για τη διδακτική εφαρμογή όλων αυτών στο μάθημα της Ιστορίας (Β΄ Τάξη Λυκείου) υπό το πρίσμα της αυτόνομης (autonomous) (ή ανακατευθυνόμενης, self-directed) μάθησης (learning), καθώς πολλάκις ιδιαίτερες συνθήκες, όπως στην προκειμένη περίπτωση η πανδημία της νόσου covid-19, επηρεάζουν αξιοσημείωτα τη συνήθη λειτουργία των σχολικών μονάδων, με αποτέλεσμα μια εκ του σύνεγγυς διδασκαλία να καθίσταται αρκετά δύσκολη, έως και αδύνατη. Με άλλα λόγια, επισημαίνεται ένας εναλλακτικός τρόπος οργάνωση του διδακτικού υλικού βασισμένος στην κριτική ερμηνεία της θεωρίας του συμπεριφορισμού (behaviorism) με απώτερο στόχο την ενεργοποίηση των μαθητών/μαθητριών, χωρίς τη φυσική «παρεμβολή» του/της εκπαιδευτικού, όντας οι ίδιοι/ίδιες εκτός σχολικών αιθουσών. Όλα τα παραπάνω ακολουθούν το περιεχόμενο και τη φιλοσοφία των αναθεωρημένων Αναλυτικών Προγραμμάτων και των Οδηγών  των Εκπαιδευτικών.

The subject of the present study is of a dual nature. On the one hand, it explores the cultural connection between the Early Italian Renaissance (international Gothic style) and the paintings of a very special circle of artists, which centered around the city of Kastoria (1480-1510).  On  the  other  hand,  it  proposes  the  didactic  application  of  the  above  in  the History Lesson (2nd Grade of Senior High School) in light of autonomous (or self-directed) learning, as oftentimes special conditions, such as the covid-19 pandemic, affect the normal functioning  of  schools  significantly. A non-distant  learning  becomes  difficult  or  even impossible. Therefore, an alternative way of organizing the teaching material is proposed, one  that  is  based  on  the  critical  interpretation  of the  theory of  behaviorism. The  ultimate goal  is the personal  engagement  of  students,  i.e.  the  search  for  knowledge  without  the physical “intervention” of the teacher and of course away from the classroom. This didactic method / technique follows the content and philosophy of the revised Curricula and Teacher Guides of the Ministry of Education (Greece)

Ορφανίδης, Γ. (2020). Καστοριανό εργαστήριο (1480-1510) και πρώιμη ιταλική τέχνη. Συμβολή στο σχεδιασμό της αυτόνομης μάθησης την περίοδο της νόσου covid-19. Symbol-e (της Ιεράς Μητροπόλεως Κυρηνείας, Κύπρος), 9, 77-99.

https://periodiko.metropolisofkyrenia.com.

Around 1400, some of the most powerful princes of the time commissioned altarpieces carved in bone and ivory from the Embriachi workshop, of Florentine origin. The uncles of the King of France, Jean, Duke of Berry, and Philippe, Duke of Burgundy, the Duke of Milan, Gian Galeazzo Visconti, competed to offer these sumptuous machines to the churches they protected in Poissy, Dijon and Pavia. For the first time, the book systematically studies these altarpieces and presents some previously unpublished ones, investigating their iconography, patronage and destination, but also the complex vicissitudes they have experienced over the centuries, between disinterest and rediscovery. The examination of these retables and their history is accompanied by a study of the workshop that produced them and a discussion of the reasons that ensured exceptional success, in much of Europe, to its products, not only large altarpieces, but also devotional triptychs and wedding caskets. The analysis of materials, style and subjects is intertwined with the study of the organisation of work in the workshop, thus illuminating a little-known aspect of international Gothic.

El pintor conocido como Maestro de Santa María tuvo su taller en Siracusa (Sicilia) probablemente ya desde el final de la primera década del siglo XV. De su producción queda un reducido catálogo que parece resumir de forma emblemática las principales tendencias de la pintura valenciana del Gótico Internacional. Entre sus obras, el retablo de san Lorenzo es paradigmático de la adopción de fuentes toscanas, plasmadas con habilidad sobre una sensibilidad de raigambre norteeuropea. El objetivo de este estudio es hacer patentes los recuerdos florentinos que se traslucen de las selecciones iconográficas hechas por el pintor, a través de modelos y apuntes visuales extraídos de la tradición figurativa del Trecento italiano. Palabras clave: Gótico internacional en Valencia, intercambios artísticos, pintura gótica en Sicilia, retablos, Gherardo Starnina.

This article deals with the long-lasting engagement of Enrico Castelnuovo with the art of the period usually termed international gothic. It shows how the author contributed to a better understanding of this period. moreover, it tries to explain the approach of Castelnuovo, showing how the theme was deeply connected to some of his most innovatory and influential methodological proposals.

As Johan Huizinga has already shown in a pioneering way, the chroniclers of the
years around 1400 are privileged witnesses of the culture of the elites in France
during the reigns of Charles V and Charles VI. Neglected by art historians who have almost exclusively focused on the Italian writings of the first renaissance, Jean Froissart, Michel Pintoin or the Grandes Chroniques de France are precious sources to
track the milestones of an emerging discourse on art, as I try to show through an analysis conducted using the example of goldsmiths' work. These texts make it possible first of all to note that the precious objects (together with textiles) occupy a prominent place in aristocratic practices and imagination. Above all, they open up broader perspectives on the problem of aesthetic appreciation of medieval works, highlighting the existence of amateurs who, in an intimate context, exchange on the qualities of the works. They also make possible to capture the criteriaof evaluation used by aristicrats and the terms used to express them.

Among holdings of Italian art in the United States, the North Carolina Museum of Art in Raleigh is notable both for the breadth and quality of its paintings collection, particularly works from the fourteenth, seventeenth, and eighteenth centuries, and for the fortuitous and expeditious way it came together, in the relatively short span of fifteen years. Highlights include a complete Giotto altarpiece; a series of important polyptych fragments and

This article focuses on the altarpieces installed on the altars of the church of the charterhouse in Champmol, near Dijon, founded by the first Valois Duke of Burgundy, Philip the Bold, in 1385, and completed, including most of its interior decoration, before 1410.
Basing on still surviving works and on published archival sources, I first try to reconstruct the appearance of the altarpieces executed for the church at the time of its building. Crucial to my argument are the two sculpted, gilded and polychromed triptychs by Jacques de Baerze and Melchior Broederlam and the fragments of a bone triptych by the Embriachi workshop, which, I suggest, was initially placed on the main altar of the church. Besides theses sculpted works and another gilded wooden altarpiece in the lower chapel of the ducal oratory, most of the altar decorations in the church consisted in painted and gilded wooden panels. The assemblage on a single site, on a short period, of a variety of uncommon and innovative forms, materials and techniques is an extraordinary enterprise which hasn’t yet been satisfactorily considered as such and interpreted.
The choice of materials and techniques is interpreted as a means of structuring the interior space of the church, distinguishing areas that were liturgically or socially more important by the use of more rich, complex and rare decoration. The Flemish and Italian altarpieces were probably then perceived as estranges, i.e. exotic and precious, qualities that were highly appreciated by patrons at the time, as some written sources show.
The vital role of the Duke of Burgundy in these choices is also stressed. Materials, techniques and formats at odds with the main tradition at the French court were consciously and personally selected by Philip the Bold to exhibit his taste and above all the extension of his connections as a patron. The search of a wide range of exceptional works happened in a context of intense artistic competition between princely patrons. The intended audience included not only the Carthusian monks, but also the Burgundian nobility and the Parisian court circles. Exotic materials artistically transformed were more appropriated for smaller works of art, like those composing princely and royal treasures, then for large altarpieces. They were chosen nonetheless for the quality of the workmanship of the sculpted and finely tooled altarpieces in Champmol appealed most of all to the eyes and taste of a princely patron.