1998
DOI: 10.3406/bulmo.1998.1755000
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Jean Goujon, de Sagredo à Serlio : la culture architecturale d'un « ymaginier architecteur »

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Cited by 3 publications
(2 citation statements)
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“…Instead it was the Erechtheion-style caryatids known from Roman remains which stimulated his interest and admiration, after he had adapted Raimondi's print in his illustrations of Martin's French Vitruvius. 71 One year after this French Vitruvius, Raimondi's Caryatid façade was also adopted in the first German book based on Vitruvius, the 'Vitruvius Teutsch' published by Walther Hermann Ryff in 1548. This text illustrates the Caryatids with a plate derived from…”
Section: The Caryatid Façade In the Vitruvian Traditionmentioning
confidence: 99%
“…Instead it was the Erechtheion-style caryatids known from Roman remains which stimulated his interest and admiration, after he had adapted Raimondi's print in his illustrations of Martin's French Vitruvius. 71 One year after this French Vitruvius, Raimondi's Caryatid façade was also adopted in the first German book based on Vitruvius, the 'Vitruvius Teutsch' published by Walther Hermann Ryff in 1548. This text illustrates the Caryatids with a plate derived from…”
Section: The Caryatid Façade In the Vitruvian Traditionmentioning
confidence: 99%
“…De manera paralela, la historiografía artística francesa ha venido intentando descubrir el influjo de lo español, sobre todo en la arquitec-tura desarrollada al otro lado de los Pirineos a lo largo del siglo XVI, a veces arrastrada por el viejo tópico del casticismo ornamental hispánico, cuya hipotética influencia resultaría más plausible en el Midi 111 que en la Normandía, 112 pero también desde del estudio de fuentes y modelos. 113 Partiendo del reconocimiento de que resta una importante labor documental por realizar, sobre todo del lado francés, todo permite intuir que, en realidad, nos encontramos ante dos contextos periféricos que recibieron e interpretaron de manera diferente los postulados artísticos llegados desde la Península Itálica a lo largo de toda la Edad Moderna, alcanzando soluciones estructurales y formales propias -a veces distintas, a veces muy parejas-que, desde luego, debieron de circular recíprocamente en los dos sentidos, y no sólo siguiendo un eje direccional norte-sur.…”
Section: A Modo De Conclusiónunclassified