Des figures hors cadre

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Campo DC	Valore
dc.identifier	ECF_article_2734
dc.title	Des figures hors cadre. L’émergence du corps sculpté dans l’architecture de la Renaissance en France
dc.contributor.author	Munoz Sarah
dc.publisher	Edizioni Ca’ Foscari - Digital Publishing, Fondazione Università Ca’ Foscari
dc.type	Articolo
dc.language.iso	fr
dc.identifier.uri	http://edizionicafoscari.it/it/edizioni4/riviste/venezia-arti/2020/1/des-figures-hors-cadre/
dc.description.abstract	Sculpted Renaissance medallions, inspired by ancient coins and clipeatae imagines, were developed in French monuments from around 1500 to 1550. First applied to the surface of the wall and restricted to a face, they showed, around 1530-1540, transformations related to the adaptation and variation of the body in the decoration. Characters in very high relief, sometimes represented up to the hips, were multiplied, freed from their frame, addressing the viewer and creating illusion games when they were placed in false windows. These decorations thus testify to the relationship between structure and sculpture and the growing humanisation of the wall.
dc.relation.ispartof	Venezia Arti
dc.relation.ispartof	Vol. 29 \| Dicembre 2020
dc.issued	2020-12-11
dc.dateAccepted	2019-10-14
dc.dateSubmitted	2019-07-19
dc.identifier.issn
dc.identifier.eissn	2385-2720
dc.rights	Creative Commons Attribution 4.0 International Public License
dc.rights.uri	http://creativecommons.org/licenses/by/4.0/
dc.identifier.doi	10.30687/VA/2385-2720/2020/01/012
dc.peer-review	yes
dc.subject	Busts
dc.subject	Busts
dc.subject	Medallions
dc.subject	Medallions
dc.subject	Ornament
dc.subject	Ornament
dc.subject	Portraits
dc.subject	Portraits
dc.subject	Renaissance
dc.subject	Renaissance

Articolo
open access peer reviewed

L’émergence du corps sculpté dans l’architecture de la Renaissance en France

Sarah Munoz Columbia University, New York, USA

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abstract

Sculpted Renaissance medallions, inspired by ancient coins and clipeatae imagines, were developed in French monuments from around 1500 to 1550. First applied to the surface of the wall and restricted to a face, they showed, around 1530-1540, transformations related to the adaptation and variation of the body in the decoration. Characters in very high relief, sometimes represented up to the hips, were multiplied, freed from their frame, addressing the viewer and creating illusion games when they were placed in false windows. These decorations thus testify to the relationship between structure and sculpture and the growing humanisation of the wall.

Pubblicato

11 Dicembre 2020

Accettato

14 Ottobre 2019

Presentato

19 Luglio 2019

Lingua

Keywords: Renaissance • Busts • Portraits • Ornament • Medallions

permalink http://doi.org/10.30687/VA/2385-2720/2020/01/012

Copyright: © 2020 Sarah Munoz. This is an open-access work distributed under the terms of the Creative Commons Attribution License (CC BY). The use, distribution or reproduction is permitted, provided that the original author(s) and the copyright owner(s) are credited and that the original publication is cited, in accordance with accepted academic practice. The license allows for commercial use. No use, distribution or reproduction is permitted which does not comply with these terms.

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