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The "headmaster" of Chartres and the origins of "Gothic" sculpture

Author: C Edson Armi
Publisher: University Park, Pa. : Pennsylvania State University Press, ©1994.
Edition/Format:   Book : State or province government publication : EnglishView all editions and formats
Database:WorldCat
Summary:
Despite the aesthetic and historical significance of the Royal Portal, scholars lack concrete knowledge about it since no documentation of its design and construction exists. Nevertheless, over the last century, a set of truths about the facade has become accepted. Employing a new methodology that overcomes the lack of documents with a revised form of connoisseurship, Edson Armi proposes a radically different
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Additional Physical Format: Online version:
Armi, C. Edson.
"headmaster" of Chartres and the origins of "Gothic" sculpture.
University Park, Pa. : Pennsylvania State University Press, c1994
(OCoLC)623168939
Named Person: Meister der Chartreser Westportale
Material Type: Government publication, State or province government publication
Document Type: Book
All Authors / Contributors: C Edson Armi
ISBN: 0271010509 9780271010502
OCLC Number: 27266499
Description: xviii, 148, [86] p. : ill., map ; 29 cm.
Contents: Pt. I. The Framework. 1. The Sculptural Frame: Large-Scale Articulation of the Chartres Master. 2. The Sculptural Frame: Small-Scale Decoration of the Chartres Master --
Excursus to Chapter 2: The Typology, Construction, and Function of the Souvigny Facade Reliefs. 3. The Placement of the Figures of the Chartres Master --
Pt. II. The Figure. 4. Consistencies in the Figural Sculpture of the Chartres Master. 5. Changes in the Figural Sculpture of the Chartres Master: Romanesque and Gothic Styles Reconsidered --
Pt. III. The Context. 6. Comparisons With the Sculpture of the Chartres Master: The Headmaster Concept Reconsidered. 7. The Context of the Chartres Master: The Bommiers and Montmorillon Masters and the Axes of the Loire and Bas-Berry.
Responsibility: C. Edson Armi.
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Abstract:

Despite the aesthetic and historical significance of the Royal Portal, scholars lack concrete knowledge about it since no documentation of its design and construction exists. Nevertheless, over the last century, a set of truths about the facade has become accepted. Employing a new methodology that overcomes the lack of documents with a revised form of connoisseurship, Edson Armi proposes a radically different biography of the headmaster that has far-reaching implications for the study of Gothic sculpture.

With a new perspective on this, the most important mid-twelfth-century portal, the book concludes that the style and cultural context of Ile-de-France sculpture is less defined and more diverse than previously imagined. More important, the book argues that the forms of art, as well as the design and working procedures in the Paris basin, can no longer be seen as unique or separate from the practices of provincial French art in the period before 1140.

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