Medieval Sculpture at the Metropolitan 800 to 1400

Wixom, William D.

doi:10.2307/20209200

Cited by 2 publications

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“…Polychrome marble and ivory sculptures contemporary to this piece give us a close approximation of the intended effect of the application of the polychromy and gilding to the Virgin and Child alabaster and were likely the models that these craftsmen had in mind . The BM Virgin and Child has been connected with the French style of the 1340‐60, and indeed the closest comparisons are two French courtly sculptures in marble (a Virgin and Child now in the Musée des Beaux‐Arts of Arras and another in the Metropolitan Museum of Art of New York) . This points to an awareness of contemporary stylistic developments and that was able to produce an alabaster for a European client catering to the continental taste…”

Section: Resultsmentioning

confidence: 94%

“…55 The BM Virgin and Child has been connected with the French style of the 1340-60 56 , and indeed the closest comparisons are two French courtly sculptures in marble (a Virgin and Child now in the Musée des Beaux-Arts of Arras and another in the Metropolitan Museum of Art of New York). 57,58 This points to an awareness of contemporary stylistic developments and that was able to produce an alabaster for a European client catering to the continental taste. 55 In contrast, the microscopic observation of pigment and gilding remnants on most of the surface of the Kettlebaston panels suggest that these were likely almost fully polychrome (see tentative reconstructions in Figure 6C).…”

Section: Digital Reconstruction Of the Polychromymentioning

confidence: 99%

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Shedding light on the colours of medieval alabaster sculptures: Scientific analysis and digital reconstruction of their original polychromy

Pereira-Pardo

Tamburini

Dyer

2018

Color Research & Application

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Although medieval alabaster sculptures might appear white at present, they were colourful once, because painting and gilding the stone was an integral part of their production. This work presents the study of polychrome remnants on a selection of fourteenth century English alabasters, using multiple scientific methods (microscopy, spectroscopic and chromatographic techniques). The range of pigments identified include vermilion, red ochre, red lead, kermes, verdigris, copper resinate, azurite, lead white and carbon black. Some sophisticated decorative techniques were also observed, namely the application of translucent glazes on top of raised gilded motifs. The analysis was useful in understanding the degradation processes undergone by some materials, such as verdigris. The use of oil as binding medium for the application of the paint layers and a mordant gilding technique were determined. These findings yielded important clues towards the digital reconstruction of the original appearance of the polychrome surface, which is also presented here.

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Section: Resultsmentioning

confidence: 94%

Section: Digital Reconstruction Of the Polychromymentioning

confidence: 99%

Shedding light on the colours of medieval alabaster sculptures: Scientific analysis and digital reconstruction of their original polychromy

Pereira-Pardo

Tamburini

Dyer

2018

Color Research & Application

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Sensing the Eternal Birth: Mystical Vision “Inside” The Visitation in the Met

Tramarin

2024

Religions

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Much scholarly attention has been paid to The Visitation group housed at The Metropolitan Museum of Art. The sculpture, dated between 1310 and 1320 and attributed to Master Heinrich of Constance, comes from the Dominican convent of St. Katherinental, in present-day Switzerland, and is notable for its two rock crystal cabochons embedded in the wombs of the Virgin Mary and Elizabeth. In this paper, I support and substantiate the original inclusion of the two stones in the artwork, arguing that it was conceived in close connection with the mystical doctrine on inner vision and the Eternal Birth of God within the soul, as theorized by the Dominican theologian Meister Eckhart (1260–1328). Considering the role of vision in medieval spirituality, the rock crystals, as symbols of purity and divine illumination, functioned as pivotal tools in the mystical experience of Katherinental nuns, fostering their profound spiritual connection with the divine. This article provides a fresh and in-depth analysis of the iconological essence of The Visitation in the Met, incorporating notions established in the field of sensory studies together with methods developed in visual and material culture studies.

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Medieval Sculpture at the Metropolitan 800 to 1400

Cited by 2 publications

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Shedding light on the colours of medieval alabaster sculptures: Scientific analysis and digital reconstruction of their original polychromy

Shedding light on the colours of medieval alabaster sculptures: Scientific analysis and digital reconstruction of their original polychromy

Sensing the Eternal Birth: Mystical Vision “Inside” The Visitation in the Met

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