The material used was wood, which was used for the preparation of devotional images as the Seat of Wisdom, long represented throughout Catalonia and the south France. The image most important Romanesque, however, was the Christ in Majesty; emphasize that there is a Holy Face of Lucca, in Cathedral of Milan, and Christ de Mijas and the Batllo Majesty (aluminum wall sculpture).
The door of Cathedral of Chartres (1145) is one of first examples of Gothic sculptures: featuring the fabulous animals that shape the gargoyles. In Germany, both outside and inside the Bamberg Cathedral (XIII century) there are meaningful sculptures; A good example is the Bamberg Horseman. One innovation are the sculptures on dramatic themes, scenes from the Passion of Christ and the Pieta among others. At the end of Gothic period in magnificent altar made by artists such as Tilman Riemenschneider or Veit Stoss. The kingdom of Castile worked there sculptors Gil de Alejo of Siloam Vahia.
The sculptures was initially a single function, immediate use; function was added later ritual, magical or religious funeral. This feature was changing with the historical evolution, acquiring primarily aesthetic purposes or simply ornamental and can become just as something ephemeral or lasting.
Art historians believe that the Renaissance sculptures began with the competition to make the doors of Baptistry (1401) of Florence, which were presented Filippo Brunelleschi and Lorenzo Ghiberti. The new form Renaissance art inspired by the sculptures of classical antiquity, seeking a total exaltation of beauty.
Mathematics became his main aid, applying to all arts certain principles and laws, such as the prospect. Great patron emerged as the Medici popes of Rome and Florence, plus cardinals, princes and unions. At this time the sculptures remained virtually unconnected architecture and showed expressions full of characters drama; This is seen in sculptures of Michelangelo, for example, David. Many of them travel to other countries.
Giambologna is presented in its sculptures as The Rape ofSabine Women, the style of Mannerism. At the end of Cinquecento, sculptors tried lengthening the figures showing the proportions and put some artificial opposite -women and men, old age and youth, beauty and lletgesa- and the sinuous forms of (serpentinata), a sort of tumbling figures and sculptures.
The council of Trent (1545-1563) marked a new direction in religious images; David -l'autor Bernini, Apollo and Daphne and Ecstasy of St. Teresa, was the sculptor that influenced the Baroque sculptures, which is seeking emotional and dramatic effects. In France highlights the work of Simon Guillain Jacques Sarrazin and making portraits of nobility, the tomb of Cardinal Richelieu made by Francois Girardon and sculptures garden of Palace of Versailles by Pierre Puget.
During this period, production religious sculptures in Spain is amazing sculptures for interiors of churches, facades, and private devotions for Easter; emerged two schools: the Spanish and Andalusian. Among the sculptors can stand Gregorio Fernandez, Juan Martinez Montanes, Francisco Salzillo, Pedro de Mena and Alonso Cano. Inmid-eighteenth century, Winckelmann guidelines of "good taste in food sources and direct the example ofworks ofGreeks" made many artists devoted to copy instead of imitating; Neoclassicism came.
The door of Cathedral of Chartres (1145) is one of first examples of Gothic sculptures: featuring the fabulous animals that shape the gargoyles. In Germany, both outside and inside the Bamberg Cathedral (XIII century) there are meaningful sculptures; A good example is the Bamberg Horseman. One innovation are the sculptures on dramatic themes, scenes from the Passion of Christ and the Pieta among others. At the end of Gothic period in magnificent altar made by artists such as Tilman Riemenschneider or Veit Stoss. The kingdom of Castile worked there sculptors Gil de Alejo of Siloam Vahia.
The sculptures was initially a single function, immediate use; function was added later ritual, magical or religious funeral. This feature was changing with the historical evolution, acquiring primarily aesthetic purposes or simply ornamental and can become just as something ephemeral or lasting.
Art historians believe that the Renaissance sculptures began with the competition to make the doors of Baptistry (1401) of Florence, which were presented Filippo Brunelleschi and Lorenzo Ghiberti. The new form Renaissance art inspired by the sculptures of classical antiquity, seeking a total exaltation of beauty.
Mathematics became his main aid, applying to all arts certain principles and laws, such as the prospect. Great patron emerged as the Medici popes of Rome and Florence, plus cardinals, princes and unions. At this time the sculptures remained virtually unconnected architecture and showed expressions full of characters drama; This is seen in sculptures of Michelangelo, for example, David. Many of them travel to other countries.
Giambologna is presented in its sculptures as The Rape ofSabine Women, the style of Mannerism. At the end of Cinquecento, sculptors tried lengthening the figures showing the proportions and put some artificial opposite -women and men, old age and youth, beauty and lletgesa- and the sinuous forms of (serpentinata), a sort of tumbling figures and sculptures.
The council of Trent (1545-1563) marked a new direction in religious images; David -l'autor Bernini, Apollo and Daphne and Ecstasy of St. Teresa, was the sculptor that influenced the Baroque sculptures, which is seeking emotional and dramatic effects. In France highlights the work of Simon Guillain Jacques Sarrazin and making portraits of nobility, the tomb of Cardinal Richelieu made by Francois Girardon and sculptures garden of Palace of Versailles by Pierre Puget.
During this period, production religious sculptures in Spain is amazing sculptures for interiors of churches, facades, and private devotions for Easter; emerged two schools: the Spanish and Andalusian. Among the sculptors can stand Gregorio Fernandez, Juan Martinez Montanes, Francisco Salzillo, Pedro de Mena and Alonso Cano. Inmid-eighteenth century, Winckelmann guidelines of "good taste in food sources and direct the example ofworks ofGreeks" made many artists devoted to copy instead of imitating; Neoclassicism came.
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