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Terrier Aliferis, Laurence
Nom
Terrier Aliferis, Laurence
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Professeure assistante
Email
laurence.terrier@unine.ch
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Voici les éléments 1 - 3 sur 3
- PublicationMétadonnées seulementAesthetics and the Imitation of Antiquity in Early Gothic SculptureThis article discusses the emergence of a style, known as the ‘1200 style’, one of whose principal characteristics is the evocation of antique art. Examination of the stylistic evolution of early Gothic sculpture similarly reveals a concern for realistic representation in the late twelfth and early thirteenth centuries. Sculptors, like goldsmiths, tried to create convincing figures whose proportions and anatomies are consistent with those found in nature. Related to the development of the 1200 style and its links with antique work, the objective of these sculptors was not Antiquity itself but an aesthetic of naturalism. The Latin and French texts of the same period make abundant use of the antique topos of the statue animated by the breath of life. The realistic tendencies of artistic production are here explained by a desire to give presence to divinity through sculpture with a powerful capacity for re-presentation.
- PublicationMétadonnées seulementL'Antiquité dans l'art médiéval : Regards historiographiques et méthodologiques(2019-6)The imitation of Antique art during the medieval period is a theme that benefits from an important historiographical tradition. Through it, the research trends that have dominated this field for these past twenty-five years can be brought to light. It is telling that after the founding work of the 1930s to the 1960s, which focalised on the survival-revival duality, the research no longer considers this theme from a global point of view. Instead, punctual studies are conducted on specific aspects. A state of the research from the beginning of the 1990s onwards is proposed here, pointing out the various domains discussed. Questions of model localisation and the intentions behind imitating the past motivate most studies undertaken in the past few decades. The most important finding of the recent research, however, is the realisation that the medieval objects were appreciated for purely esthetical reasons during the re-use/imitation process.