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" Alert amphibian "

"Dear

For several years, amphibian populations to cross a worldwide crisis unprecedented. In less than 30 years, over 120 species extinct and 435 appear to have sharply declined. Today, nearly one third of the 6,000 amphibian species recorded around the world are threatened with extinction. For comparison, one in eight birds and one in four mammals possess a comparable level of vulnerability. One of those responsible for this decline is an emerging infectious disease, chytridiomycosis, caused by the pathogenic fungus Batrachochytrium dendrobatidis. The Bullfrog introduced in France (in the Loir-et-Cher, in the Dordogne and Gironde) was positive for B. dendrobatidis. The first cases mortality associated with this disease are observed in the Pyrenees in the salamander and the Common Midwife toad.

To date, knowledge of amphibian diseases in France (Chytridiomycosis, Ranavirus.) Are very limited. In many areas, amphibians are disappearing without causes of death are clearly established and it is possible that mass mortality of amphibians occur while going unnoticed. Your cooperation is fundamental to better understand the situation of these diseases in France and thereby preserve the local batrachofauna.

If you watch (or have seen during years) of mortality of amphibians, without apparent cause, thank you notify us as soon as possible
. You can find web
( http://www.parc-naturel-perigord-limousin.fr/a_savoir/alerte_amphibien ) all information on this "warning amphibian.

Thanks in advance for kindly circulate this email in your network.

Regards, Claude


miaudi
Director of Alpine Ecology Laboratory, University of Savoie

Fabrice CASTLE
Director of the Regional Natural Park of Périgord-Limousin "

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PRESENTATION OF COURSE, PROGRAM






Moderator: Jacques rouveyrol

Objectives: 1

allow readers to locate themselves in art history by acquiring knowledge of the major characteristics of different periods and the different artistic movements, trying to understand the reason for these changes.

2. Gather information and form a way of thinking unique to approach contemporary art.

Organization:

Four levels

PROGRAM:

First year (beginning October 2007)

1.The medieval Romanesque and Gothic (XII-XV)

2.La Italian Renaissance: classical (XV), way (sixteenth)

3.The Classicism and Baroque (XVII)

4.The Rococo and Neoclassicism (XVIII)

5.The Romanticism and Realism (XIX)

Second year (beginning October 2008)

1. The Impressionists and lespost-impressionists.
2.Matisse and Picasso: from Fauvism to Cubism.
3.The abstract art.
4.Dada and the Surrealists.
5.La revolution Duchamp

Third year (beginning October 2009)

1.De Paris to New York abstract expressionism.

2.The Pop-Art and hyper-realistic.

3.The "fallout" in France: the New Realists, Support-Surface, BMPT, etc..

4.The new modes of artistic expression: installation, performance, happenings, body art, land-art, etc..

5.The "return" to painting.

From the start of 2010-2011, most courses will take place on the blog. A 4th year is open and will cover the news of contemporary art.

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CONTENTS INTRODUCTION AND LINKS

HISTORY

ROMAN ART (1) CHAPTER 1: THE ARCHITECTURE ROMAN
ROMAN ART (2) CHAPTER 2. THE ROMAN SCULPTURE
GOTHIC ART (1) CHAPTER 3. GOTHIC ARCHITECTURE
ART GOTHIC (2) CHAPTER 4. GOTHIC SCULPTURE: FEATURES
GOTHIC ART (3) CHAPTER 4. GOTHIC SCULPTURE : ICONOGRAPHY 1. FORM 2. CONTENT
GOTHIC ART (4) CHAPTER 5 THE INTERNATIONAL AND GOTHIC RENAISSANCE IN THE NORTH, S XV (OR FLEMISH PRIMITIVES).
RENAISSANCE (1) CHAPTER 6 THE RENAISSANCE IN ITALY: THE PERSPECTIVE
RENAISSANCE (2) CHAPTER 7 (continued). THE RENAISSANCE IN ITALY: THE CLASSICAL RENAISSANCE: XIV-XV centuries.
THE RENAISSANCE (3) CHAPTER 8. AN ARTIST OF THE RENAISSANCE: Leonardo da Vinci (1452 - 1519)
THE RENAISSANCE (4) CHAPTER 9. THE PAINTERS OF THE RENAISSANCE CLASSICAL (XIV-XV ° S)
RENAISSANCE (5) CHAPTER 10. RENAISSANCE WAY XVI ° S
REVIVAL (6) CHAPTER 11. RENAISSANCE WAY XVI ° S: ARTISTS
THE XVII CENTURY (1) CHAPTER 12 THE REFORMED PAINTING: THE XVII CENTURY NETHERLANDS
THE XVII CENTURY (2) CHAPTER 14. THE CLASSICS: The XVII CENTURY
THE XVII CENTURY (3) CHAPTER 14 (continued) baroque and classicism: the XVII CENTURY: THE ARTISTS

PARENTHESE: ICONOGRAPHY

ICONOGRAPHY (1 & 2) ICONOGRAPHY IE 1 CHAPTER 15: THE SAINTS 2: THE PROPHETS
ICONOGRAPHY (3) ICONOGRAPHY IE 3 CHAPTER 16: THE HEROES MYTHOLOGIC
ICONOGRAPHY (4 & 5) ICONOGRAPHY IE 4 CHAPTER 17: THE SCENES FREQUENTLY
CHAPTER 18: ICONOGRAPHY 5: NU


REPEAT OF HISTORY

THE XVIII CENTURY (1) CHAPTER 19 THE ROCOCO -
CHAPTER 20 THE "GENDER moralize '
THE XVIII CENTURY (2) CHAPTER 21 THE STILL LIFE
CHAPTER 22 Neoclassicism & 23
THE XVIII CENTURY (3) CHAPTER 24 THE SCULPTURE NEOCLASSIC
THE XVIII CENTURY (4) CHAPTER 25 neoclassicism. (End)
CHAPTER 26 THE ROMANCE (1)
THE XIX CENTURY (1) CHAPTER 26 THE ROMANCE (2)
CHAPTER 27 IN THE MARGINS OF ROMANCE: Pre-Raphaelite & Symbolism
THE XIX CENTURY (2) CHAPTER 28 THE naturalism and realism
THE XIX CENTURY (3) CHAPTER 29 IMPRESSIONISM
THE XIX CENTURY (4) CHAPTER 29 & 30: IMPRESSIONISM (2) Cezanne (1)
THE XIX CENTURY (5 ) CHAPTER 31: THE NEW WORLD OF THE PAINT 1. CONSTRUCTION OF SPACE (1): CEZANNE
THE XX CENTURY (1) CHAPTER 32: THE NEW WORLD OF PAINTING 2. COLOR: Fauvism
CHAPTER 32: Expressionism
THE XX CENTURY (2) CHAPTER 33: THE NEW WORLD OF THE PAINT 3. SPACE: cubism (1)
THE XX CENTURY (3) CHAPTER 33 (continued) : THE NEW WORLD OF THE PAINT 3. SPACE: cubism (2)
THE XX CENTURY (4) CHAPTER 34: THE NEW WORLD OF THE PAINT (3). SPACE (3) MATISSE AND PICASSO
THE XX CENTURY (5) CHAPTER 34 (continued) THE NEW WORLD OF THE PAINT (3). SPACE (3) MATISSE AND PICASSO (2).
THE XX CENTURY (6) CHAPTER 35 & 36: THE NEW WORLD OF THE PAINT (4): abstract art, Surrealism.
THE XX CENTURY (7) CHAPTER 37 THE REVOLUTION DUCHAMP
THE XX CENTURY (8) CHAPTER 38 Abstract Expressionism (1) 1942-1952
THE XX CENTURY (9) CHAPTER 38 (continued) Abstract Expressionism: SECOND GENERATION
THE XX CENTURY (10) CHAPTER 39A END OF AVANT GARDE: TOWARDS A NEW "REALISM": THE DISAPPEARANCE OF THE ARTIST.
THE XX CENTURY (11) CHAPTER 40 NEW REALISTIC
THE XX CENTURY (12) CHAPTER 41 THE POP ART
THE XX CENTURY (13) CHAPTER 42 Hyperrealism
THE XX CENTURY (14) CHAPTER 43: THE KILLING OF THE PAINT: BMPT (1967); SUPPORT / SURFACE (1969 - 1972), GRAV (1960 - 1968).
THE XX CENTURY (15) CHAPTER 44: THE DESTRUCTION OF THE OBJECT (1): Minimalism
THE XX CENTURY (16) CHAPTER 45 THE DESTRUCTION OF THE OBJECT (2): CONCEPTUAL ART
THE XX CENTURY (17) CHAPTER 46. BODY ART AND perormance
THE XX CENTURY (18) CHAPTER 47 LAND EARTH ART AND ART
THE XX CENTURY (19) CHAPTER 48 THE "RETURN" in Figure
THE XX CENTURY (20) CHAPTER 49 THE POSTMODERNISM
CLCL XX & XXI ° (1) CHAPTER 50 THE ART CONTEXTUAL
XX & XXI CENTURY (2) CHAPTER 51 THE CONTEMPORARY PAINTING (1)
XX & XXI CENTURY (3) CHAPTER 52 THE CONTEMPORARY PAINTING (2)
XX & XXI CENTURY (4) CHAPTER 53 THE CONTEMPORARY PAINTING (3)

SCHEDULE

THE enigmatic woman
THE SHOUT
USAGE POLICY Neoclassicism: NAZI AND STALINISM


BIBLIOGRAPHY: LIST OF WORKS CONSULTED

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COURSE 1: INTRODUCTION
Jacques rouveyrol

1. Overall objective of the course: become familiar with contemporary art .

1.a. The paradox :

We have a great familiarity with contemporary technologies. The aircraft, automobiles but also become digital television, mobile phone multifunction computer, the Internet, the most sophisticated software does not surprise us more. We can marvel at such ingenuity, the rapid evolution of these technologies, but we are familiar .

In contrast, contemporary art available to us under the auspices of the e strangeness. It seems too often incomprehensible. There is a paradox. We our time for technical another time for artistic production.

1.b. The average familiarize ourselves:

We must go to an art that we be as alien that contemporary art. This is true of the Middle Ages.

There is a false familiarity of medieval art. He remains with us. Not a village in France who has his church of the twelfth or thirteenth century. Medieval castles in the countryside also populate their steep sides.

Yet he exudes a genuine " strangeness."

2. The prejudices.

2.a. The Middle Ages as a dark age .

a. Antiquity is familiar through the Renaissance. This gave the honor as well as sculpture Greek or Roman architecture. The mythology is coming if not replaced at least compete with Bible as a source of artistic achievements

b. Our basic design is the art of the Renaissance. This is the perspective learned during "drawing" (before the plastic arts do not come to replace the school). It's a thousand works that adorn our major museums. It is advertising that borrows from the paint (like music) models. Our eyes are fully "informed" by the aesthetics born in this period and maintained until the late nineteenth century. Our look is the fifteenth century.

c. Therefore, the Middle Ages is seen as a cultural chaos, a "parenthesis" between antiquity and Renaissance.

2.b. The Middle Ages, real basis of our culture .

Yet, and this is a new paradox, antiquity is actually a world that is foreign . Renaissance is a development of the medieval world.

The "French Landscape" is more medieval than Renaissance. Our culture is Christian calendar of feasts and saints, and our moral values are Christian. The school comes from the Middle Ages (Charlemagne and Alcuin, his "minister" of education). The layout of some areas of our cities date from the Middle Ages. Many villages in the countryside, seen from a distance, have a look not much different from the one they had in the Middle Ages.

2.c. Prejudice romantic.

This appearance Dark Age made in our minds by the Middle Age also comes from the romanticism of the nineteenth century. It feeds on "dark forces" is genius in the romantic Gothic novel. Monk Lewis is a good example. But both the Faust of Goethe.

's fascination with ruins that characterizes the romance is more oriented to the ruins of the Gothic to those of Pompeii, Herculaneum, the Roman Forum or the Athenian Acropolis.

2.d. Prejudice "modern"

There is still, to go abroad in the Middle Ages, a prejudice about modern architecture. This, from Le Corbusier is functionalist. The function of a building or part thereof must be read in its form immediately. This is not the case in medieval churches (which is a mistake since on the contrary, at the height of the Gothic classic the cathedral gives a real treaty embodied in architecture).

2.e. The prejudice of beauty.

can enter a church and find the vault beautiful, beautiful capitals or the tympanum of the portal. This assessment was anachronistic. Romanesque sculpture is not "beautiful." Do not try to be. The judge such, is to see with eyes Renaissance. And this prejudice is one more obstacle to understanding the art of this era. Because we will also say that This beautiful sculpture is not since the body is distorted, unbalanced (not according to the Canon Greek). But, again, this was not the aim of the artist as beauty.

3. The effort required to understand .

must therefore make a effort to understand the Middle Ages. Just as we must make a effort to understand contemporary art. It is the similarity of these efforts that justifies this course instead of starting with antiquity begins with the Middle Ages . The same work is done to get to one as to another.

In both efforts, we will use throughout this course will attempt to characterize the periods and artistic movements more by what distinguishes them as by what unites them, a necessary step during initiation.

JR

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ROMAN ART (1) CHAPTER 1 THE ROMAN ARCHITECTURE

ROMAN ART
Jacques rouveyrol

CHAPTER 1: THE ARCHITECTURE ROMAN

one church, there is first a plan.

1. The plan:

The twelfth century is a century of pilgrimages. The most prestigious but also the riskiest and most expensive are first pilgrimage to Jerusalem, second in Rome. More popular and frequented the famous pilgrimage to St. Jacques de Compostela.
A pilgrimage is a tour to the relics. In Greece, we would consult the Oracle at Delphi was delivered by the Pythia whenever we had to make a decision or an important matter to be concluded. Why specifically to Delphi? Because at Delphi is the omphalos, the navel of the World (a large stone having the shape of an egg). Delphi is the center of the universe.
The Christian world gets a multitude of "centers": places where the relics of saints which are ready spiritual power (to ensure its hello) or time (cure disease).
The plan of the church must fulfill two functions: 1) ensure the presentation of the relics, 2) ensure the movement of pilgrims.

Two kinds of plans will emerge: the Benedictine plan that promotes the presentation of the relics by exposing them in chapels aligned along the transept.

The plan chapels which promotes the movement of pilgrims in groups in the apse of the ambulatory chapels around where the relics are exhibited. This plan generally prevail over the other.
2. Structure.

structure, what are the elements of construction and composition.

2.a. Elements: arcs.

It is customary to imagine that the novel is the rainbow arched. That is incorrect. Certainly, the semicircle is characteristic, but the novel does not summarize it. The arch, but also many other kinds of arcs have been used by masons novels.

2.b. Composition: the vaults.

The vault is the most common, of course, the barrel vault arch. But once the vault is completely broken romance.
Where vaults intersect, we get a vault that will later distinguish the Gothic vault.

3. The wall.

3.a. Elements: columns and pillars

chapente The churches generally use pillars.

vaulted churches, columns. But things are not simple. The pillar can be append pilasters (giving rise to the quadrangular pillar, for example) or half-columns (giving rise to the pillar quatrefoil). Column semi-columns. Sometimes the number of elements becomes very important.

3.b. Commitment to the wall.

But these pillars, the columns are generally engaged in the wall, so they have only a secondary load-bearing function. Everything happens as if one were to express this grouping of pilasters and half-columns around the pillar and column themselves against a wall, the subordination of small to large and organized solidarity that characterizes the resulting social order of feudalism (lord, vassals, peasants).

Below is the terminology for column topped with a tent and a drawing of a half-engaged column a pillar itself engaged in the wall.

3.c. Portal.

The portal is an essential element of the church. Not that it is the crossing point from the outside inwards, because the church has around it an entire perimeter of its sacredness patrticipe (there is often a cemetery that is part of his "space"), but he is the location of the opening.

3.d. The Roman wall

The Greek wall (below left) is abstract. Whatever the output of a stone quarry and cut, we can put it wherever you want, replace it with another stone without difficulty. The Greek wall is homogeneous.
The Roman wall (below right) is concrete. Each stone is unique and therefore requires that each other is consistent with it and vice versa. Like a living organism, each member fits (more or less) changes in the functioning of other organs, stone Romanesque meets all others.
The same principle of solidarity is at work here, except that there is no domination of the largest to the smallest.

4. The refusal of perspective in painting.

The wall is the essential element art and spirit novels. He will prevail. It is he who will determine what will and painting and sculpture of the twelfth century.
In painting, for example, there can be no question of "pierce" the wall by an illusion of depth. There can be no question therefore use linear perspective that will implement the Renaissance. We will not accept that there is more of a plan and everything will be included on the same plane (see next section).

5. Places decoration

Places of sculptural decoration are conditioned by architecture. These are the junction points. The marquee at the junction of the column and vault. The base at the junction of column and soil. The arches at the junction of inside and outside (porch). The corbels finally at the junction of wall and roof.

6. The bedside.

The apse, is finally the outer eastern apse elect which includes around which, like the half-columns around the column, are grouped the apses, again evoking the subordination of small to large.
Viewed from outside, the church is then presented as a gigantic sculpture carved himself space, drawing in this space lay a block architecture and sacred space as the eyes, streaming toward the apse apses may amount to little to Heaven through the arrow.

7. The problem of the sculpture.

has . In the scheme Egyptian dimensions "technical" and "objective" coexist. The statue of the pharaoh in the proportions of the human body. But to reach a gigantic size, the result of visual distortions that are not corrected. The top of the statue is seen smaller because more distant than its base, because larger view closer. Similarly, the shortcut that makes the arm farthest toward the "rear" is shorter than that seen unfolding forward, is ignored. Both arms are always the same size.

b. In the scheme Greek dimensions "objective" outweigh the dimensions "technical". Vision correction applies and that, whatever the height of the statue, the impression will be that of the conservation objective proportions of the human body are also canonized.

c . In the medieval scheme the objective dimensions are simply abandoned and human figures or animals subjected to "deformations" he will try to explain (next chapter) reasons.

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ROMAN ART (2) CHAPTER 2 THE ROMAN SCULPTURE

ROMAN ART

CHAPTER 2. THE ROMAN SCULPTURE .
Jacques rouveyrol

a color:

It is everywhere in the Romanesque churches: the walls, the sculptures.






2 The Iconography:

faith is that of a "terrified" the Apocalypse to your eardrums.
The man believes the twelfth century. He believes in a God completely alien, and transcendent, which has nothing in common with humans. A terrible God whose will is incomprehensible to the human spirit. Figure bysanthine the God of Moissac tympanum is made to give the impression of terrifying power.
He still believes that the world's end is near. It can relate directly. That the Apocalypse is tomorrow if not today.

The God of Gothic closing in man. His will distinguish clearly right and wrong become understandable and the Apocalypse will replace the tympanum of the Last Judgement churches.

The God of late Gothic, the fourteenth and fifteenth centuries become more "human" again, it will be crucified. God touched by the death of Christ the pity.

three characteristics: the rejection of "realism."

Romanesque sculpture is not based on "nature". The representation of the man appears "distorted". We must understand the reasons this deformation. They are mainly (see Focillon) the submission of the sculpture to architectural framework. A domination of the architecture on which the sculpture will begin to release only from the Gothic period to complete his release during the Renaissance.

3.a. First Act: Submission to the architectural framework (architectural factor).

The tent, the arch are formal frameworks in which the sculpture must enter and to do so, fold. Thus, human trapezius (below) it must form the keystone in which it operates.

3.b. Second Law: space-place (Factor metaphysics)

Aristotelian theory, in force in the Middle Ages can not conceive of space as homogeneous in the manner of Euclid, but as places rigorously trained separate and independent from each other. It is not indifferent to the body of a lie down, up, left or right. A proof that the flame rises since the top is its natural place, the fact that the stone falls because its natural place is down.
Several consequences flow from this design:

a. Each figure occupies a place and occupied it completely.

There followed deformations that allow only the figure to fill the place which is his.

b. Each site is independent of each other (in content):

The capitals of the cloister of Moissac are linked together without any logic, so one might expect, because of their estates, to what 'they tell a story, part of Genesis, for example, could lead to the resurrection.

c. Every place is dependent on each other (in form).

In each figure a way to bend to the shape of the adjacent figure (as the uneven stones of the Roman wall adjust their shapes to each other) and thus undergo deformation. Below, at Moissac, the figures of Tetramorph adjusted to the shape of the place of God and those seraphim to the shape of places Tetramorph.

3.c. Third Law: The View Hierarchy (Factor symbolic).

The Middle Ages refuses linear perspective to be that of the Renaissance. It refuses to dig illusory (as far as actually) the "wall" which is the vector of Romanesque architecture. But he is aware of perspective. It implements a hierarchical perspective: in the middle, top and place the greatest, the most important figure (God, for example). At right, above the order of importance just after, for example the Evangelist nearest the divine: St. John (the eagle: one who looks at the sun). Left, Top: St. Matthew (the angel) that which the angel himself dictated his gospel. Right, but the bottom: St. Mark (lion) represents the Resurrection of Christ. Left, bottom: St. Luke (ox, the sacrificial animal) contained the Crucifixion. Below, the less "noble" the elders of the Apocalypse.

3.d. Fourth Law (1): submission to the frame (Factor plastic).

The big story is inherited from the Corinthian figures that will be carved to reproduce the underlying form, the frame of this type of tent: rosette leaves of double standard acanthus and hooks. It will follow the deformation of figures intended to comply with this frame.

3.e. Fourth Law (2): submission to the ornamental pattern (Factor plastic) :

Symmetry or metamorphosis.
geometric requirements, due to the Corinthian pattern: symmetry, in particular, also generate new strains, but mostly hybrid figures arisen metamorphosis.

There's also the consequences of a particular conception of Nature. God created the world, gave shape to the beings who populate it, but the infinity of his power is not summarized in the familiar things. Nature itself is an expression of divine power and continues to create new forms. This is certainly not Darwinism or lamarque nineteenth century, because there is not XII idea of evolution or adaptation. Nature does not create better, it creates because it is an active power. Therefore, the edges of the manuscript pages and walls of churches that are chains "monstrous" creatures who feed off each other or are changed into each other in ceaseless metamorphoses.

4. Ornaments.

There deformation point. Especially the abacus of the capitals of the arches or eardrums, geometric figures which it is not irrelevant to note that the links (geometric sequences whose monstrous just mentioned) are probably the most common pattern.

5. Tradition.

In contrast to what seems to define contemporary art, not to the invention, but rather to the tradition that turns sculptor novel. This is good for him to pass. Middle Age is that everything is already given. The totality of knowledge is already revealed. It is, for the Fathers of the Church of the explicit and, for artists to convey. In the monastery is copied manuscripts. At the church walls, is also copied manuscripts.
But the sculptor is not confined to reproduce. It absorbs and adapts the model of memory stone. The tympanum of Moissac could come from the manuscript: the Apocalypse of St. Sever. The liturgical drama also serves as inspiration.

6. Painting.

She exhibits characteristics similar to those of sculpture.

6.a. The mural

has . "Muralité"

Representation must refuse any illusion of depth. This is the wall that must be highlighted. Everything will be on the same level: the "first".

b. Submission framework.

The paint shall submit its figures to the same requirements as the carved figures, with all the distortions that result.

c. Submission to the frame (geometric).

Just like sculpture.

6.b. Manuscripts.

a. "Muralité"

The stone is common in your choice of paper on which is written and illuminated. Any prospect that gives the illusion of depth is clearly banned (though it is, but especially in the fifteenth century, these illuminations, the first attempts at linear perspective, are to appear).

b. Submission framework.

Again (see the "capital") figures have to bend to the "architecture" of the letter of the page or margin.

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GOTHIC ART (1) CHAPTER 3 ARCHITECTURE GOTHIC ART GOTHIC

ART GOTHIC
CHAPTER 3: ARCHITECTURE GOTHIC
Jacques rouveyrol

The novel was the wall. The Gothic is the negation of the wall. Its replacement by glass partitions: the windows .

1. The warhead

The invention the warhead is to ensure that at the point of greatest pressure of the vault is a way to divert forces to "outside". The intersecting ribs defines a point where two arcs meet. The roof hangs over this point, but instead of weighing down a direct force, perpendicular to the ground, weighs sideways, the arcs crossing at this point receiving this "weighing" and dispersing to the four directions.

2. The vault warhead

The Gothic cathedral is an architectural treatise. The watch is to understand the interplay of forces in the vault and the pillars.

It empunte two forms: the vault domicale which a succession of domes, the intersecting ribs is doing more than the top of the wall arches or beams.

............................................ ........................... Vault domicale

The segmental arch obtained by enhancement of the arcs and arches Doubleau to align the height of the intersecting ribs to get a regular vault



............................................... ................ segmental arch
3. The elevation of the wall.

Several solutions have been alternately or together implemented to allow elevation of the church. First the arch.

a. The arch

Drowned in the wall, parallel to the large arcade that runs along the aisle to each bay and opens onto the aisle, it reinforces the structure according to the principle outlined above: to reject the forces of the left and right other and thereby divide by two, instead of receiving them perpendicularly.

b. The thinning of the media

Strengthening the wall also relies on another method of construction. A construction paired taking the stone out of the quarry as it was integrated (parallel horizontal strata accumulated over time and make it "elastic"), it overrides the construction offense that reverses the stone, so strata that are vertically. Stiffness result (as opposed to the aforementioned elasticity) of medium which allows its thinning and, hence, a lower weight.
c. The first Gothic (XII s) : Saint-Denis, Noyon, Laon, ND Paris.

c.1 .- Marienval: a Romanesque church with the first warheads.

c.2 .- Laon: Prime typical Gothic: the 4 stages: large arches, gallery, clerestory, high window. The first Gothic
often given out, the appearance of the perfect novel (Noyon, for example). It is essentially characterized by the development of the nose, of course, the arch and rostrum. This is to keep a floor on the aisle which abuts the wall of the nave, which can thus gain height.

4. The flying buttresses and Gothic Classic (1st half of XIII ° S)

The appearance of the flying buttress will obviate the need fora. The vault "weighs" on the walls to each side. The forum reinforced sides. The flying buttress is going to take strengths and lead to the outside wall of the abutment and from there to the ground.
Rid forums, the wall will be more and be hollowed replaced by walls of glass: stained glass .

- Chartres, Reims, Amiens, Bourges, Le Mans.

5. The Biodome and the Gothic: (2 nd half of the XIII ° S)

The wall had disappeared, the "ribs" and remain alone, between them, the windows. The Sainte-Chapelle on the Isle de la Cite in Paris, is a glass building (such as one built today).
We are here at odds with the Roman architecture centered on the stone wall. Escutcheon (a sun that shines, hence the name given to the style of that era) is probably one of the most beautiful and convincing demonstrations of this architecture so elegant (in the sense that we say that a mathematical demontration is elegant).

6. The window

a. General characteristics: its symbolic

Cathedral is without doubt an arch refuge where those who want to be saved. But it is also the forerunner of the City of God. As such, it should look like a case rife with precious stones. The colors of the stained glass give the incident light, the reflection of such stones.
In addition, because there are often saints, the windows are like the Court of Lords who sit with God on both sides of the tabernacle where he himself resides.

b. Its evolution:

The evolution of the window tells us something further capital on its meaning. Small brightly colored little during the Romanesque period, it allows some light to enter the church. Still, by its colors, he transforms this light.
As the wall was down and given way to glass, it intensifies the colors (often "dark" blue and red), so it is not more light than before. We edify not the glass partitions for additional lighting.
is that the purpose of stained glass is not so much light that the transmutation of light land in celestial light. In House of God, the sunlight has no place. There is a divine light. Stained glass is the philosopher's stone that succeeds this transmutation.

7. The flamboyant gothic (late XIV - XV ° S)

If the Gothic could be a classic look along the ridges of the columns and arches understand the architecture of the cathedral in the Gothic the eye is lost in the maze of nerves, most of which have no function other than decorative or dramatic.
Flamboyant Gothic is said that because the columns and arches, using the curve-cons, imitate grace (we say in the sixteenth century Mannerist) of the flame rises. Exotic style and a lightness in which some wanted to see a "decadence" of the Gothic style.

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(2) CHAPTER 4 THE GOTHIC SCULPTURE

ART GOTHIC
CHAPTER 4: THE GOTHIC SCULPTURE

Jacques rouveyrol


I. CHARACTERISTICS

The gradual disappearance of the wall gradually freed sculpture from the influence of architecture and leads to progressive nature. Age Gothic sculpture is that of a balance between the demands of the architectural framework and that of the natural model that the Renaissance will then return completely.

1. Framework.

The sculpture is not free. It is framed by the top and bottom: canopy and base. Still subject to the architecture.

2. backing.

The "statue" overcomes some of the wall.
She also maintains the wall by the back. But is that by holding back, it frees them laterally across the front.

3. Facialité.

Neither frontal nor axialisée, the statue face .....

a. Frontal : archaic Egyptian sculpture, Greek Kouros, Virgin Roman, first Gothic (Chartres Statues columns)

The frontal presentation of the Egyptian pharaoh of the Greek Kouros, the Virgin Romance gives these figures look hieratic . Frozen in a posture symmetrical for eternity, they overlook the idea of deities Earth came from another world.

b. Facialité: Gothic classic

Face the statue Gothic accesses a beginning of movement that gives it a "life". While the statue front could not be regarded as the front, one angle, therefore, face the statue can be all points of view except the back.

c. Axiality : Greek sculpture, Roman, Renaissance and beyond.

A vertical axis travels around which to rotate. Completely free of architecture, the statue has become autonomous.

4. Expressiveness.

Thus relatively freed from the shackles architectural sculpture continues to be low or high relief to become a statue. It accesses a certain autonomy which allows it to obtain expression. This term does not pass through the face but still the holding.

5. Balance between architecture and "nature"

again submitted for a part in the architecture, it must accept the "distortions". The statues columns Charter stretch in height as required by the column they are backed. But somehow liberated from the wall where it tends to advance, they are more like the beings humans they are. The balance between architecture and nature defines Gothic sculpture.

6. The human type.

The ability to resemble a natural allow the statue to embody not yet an individual being (big or small, bald or hairy, etc.) but at least the human type, the essence rights, it is universal, common to all individuals: their humanity.

7. The correspondence between the Old and New Testament.

a. "Disorder" iconographic Portal novel.

We saw the cloister of Moissac align in a mess its obvious iconographic capitals. The porch of the church evokes scenes from the New Testament in a mess almost as important: Annunciation / Visitation (it goes again). Adoration of the Magi, Presentation in the Temple, Flight into Egypt, death of Lazarus, who died of the Miser, Lust.

b. "Timeline" Gothic Portal (Portal Precursor).

The Gothic doorway held sacred history. Patriarchs and Prophets in the Holy Gospels, we gradually advance towards the Nativity (represented by the Virgin Marie).
Gothic introduced or chronological order or symbolic (coresponds between the Old and New Testament. See below.)

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GOTHIC ART (3) Chapter 4 (continued) THE SCULPTURE

ART GOTHIC

CHAPTER 4: THE GOTHIC SCULPTURE (continued)

Jacques rouveyrol

II. ICONOGRAPHY: THE FORM.

1. New themes :

From the Apocalypse eardrums novels we pass on the eardrums Gothic Christ in glory at the Last Judgement and the Glory of the Virgin. God ceases to be this terrible and irrelevant to humans. He became the Father. One who shares the good and evil, reward or punish. Is that her son has a mother, like men. God has "humanized". It nevertheless remains a severe judge. but that his Mother or the Saints can be influenced by their prayers.

2. Gothic grammar.

a. Signs, not symbols .

images (sculptures, paintings) together produce a script made of signs not symbols as repeated too souvent.Un sign is a difference. A sign that only makes sense to distinguish the signs which it attaches itself. The report of the signifier (eg the cruciform nimbus halo that the face of Christ) to the signified (Christ) is arbitrary (we could have him add a non-cruciferous nimbus, as does the other saints). While the report in the symbol of the signifier (the cross, for example) to the signified (the Christians) is "justified" (in the sense that Christians can not be represented by anything: a scale or a sword, which valent them to justice). Thus, Jesus inherited the cruciform nimbus has no other meaning than this: it is not confused with those who inherit the simple nimbus. But the reverse would have been possible.La mandorla or glory surrounding a body designated by it as being that of God or the Virgin. Barefoot, God, Jesus, angels, the apostles. To distinguish them from the Virgin, saints and other ordinary people (not provided with a halo and thus distinguished from the Virgin and other saints who have in common with them to have their feet shod).

b. Types.

Types are gradually up until we find in works of the seventeenth, XVII and XIX centuries even. Thus, there is a type Saint-Pierre, recognizable features of the face, independent of the keys are another sign of recognition (that is to say, of distinction). St. Paul type, independent of the sword that distinguishes turn. One type Saint Jean-Baptiste (less independent, this time, the skin of sheep that dresses).

Other figures are constants of the Gothic script. Thus the Church (Virgin crowned, bearing in his hand the Grail who collected the blood of Christ) opposite the Synagogue (woman coronnée a pointed hat, blindfolded (there is the symbol). The first is the message of Christ so clearly and directly granted by God Himself in the person of his son. The second carries the message distorted, veiled prophets and failed to recognize the divinity of Jesus.

c. The hierarchy of places: up / down, right / left.

Depending on whether the figure is placed in one place or another, its value is not the same. In Tetramorph example, St. Matthew is at the top right (of Christ) and St. John on the left while St. Mark and St. Luke are respectively the bottom left and right (of Christ).

d. The Order of the retail :

The bases of statues. They say something about the statue that they support. Basil and IPAC (death and sin) are under the feet of Christ in triumph. The Saints have beneath them the kings who were persecuted and, in the end, they triumphed them too.

locations in the church have their meaning. In North (night and wrinkling) episodes from the Old Testament. South (day, heat) of Nouveau.Les those numbers, in turn, sigifient.

What are the twelve apostles is not indifferent. "4" is the number of matter (four items) and "3", that of the spirit (Holy Trinity). Thus ("4x3 = 12") the apostles are those who import the spirit in matter, God in the world.

5. Symbols.

cinqVierges The wise correspond to the five contemplations while the five foolish virgins describe the five senses and lust). The Resurrection means lion.
Attributes: Lamb / John the Baptist, Moses / serpent of brass or tables of the law, Abraham / young child (Isaac), Isaiah / stem of Jesse.

6. Painting.

Gothic painting to stained glass is to be found. The illumination is only imitating the light and texture of the window.

III. ICONOGRAPHY: THE CONTENT.

The cathedral is not only an arch or foreshadowing of the heavenly Jerusalem (City of God), it is as a book. No, once again, a bible of the illiterate, because you have just read (we have just seen) to understand the iconography, but rather an encyclopedia that summarizes and explains the totality of knowledge (of the time ). (See Emile Male). The source, the Speculum majus ( The Great Mirror of the World ) of Vincent of Beauvais, which splits into four "mirrors".

1. The Mirror of Nature .

Nature is nothing but the incarnation of the Mind of God. He has designed, he created under his plans, it expresses exactly his thinking. Rest you need to know to read it. All the work of "science" is to decipher what "text". So, take a walnut (nothing is more common), the nuts of St. Victor. First there is the envelope. It has two meanings: it is either the humanity of Christ or the World. Then there is the shell which will have two more meaning in connection with those of the envelope: it is the wood of the cross or sin. Finally there is the fruit that is the hidden divinity of Christ or the Mind of God. So all in all things and God everywhere.

There are still animals. All, of course, are not symbolic. The most important designate the four Evangelists. They are the Tetramorph. This is the Eagle (St. John but also Ascension of Jesus, and among the virtues, contemplation), the angel or man (Matt. but also the incarnation of Jesus and, as a virtue, wisdom ), Lion (St. Mark's but also the Resurrection of Jesus, and courage as a virtue) and Ox (St Luke, but also the Crucifixion of Jesus, and temperance as a virtue). The snake (or dragon) is the devil. The elephant symbolizes the Fall. The asp is sin and basil death, he was vu.Encore once all the animals are not symbolic. The oxen of Laon are a tribute to the work done by these animals during the construction of the cathedral. Besides, they express creative power of God (see, for example at the north portal of Chartres Creation of Animals).

2.The mirror Science .

Cathedral is the mirror of nature. She is also a mirror of science. On its walls all that science knowledge has exposed.

a. Practical Science :

Letravail. These are the "calendars" describing the s occupation of each month linked with the zodiac sequence.

b. Speculative science :

The medieval science is not like ours, an instrument of domination of nature (science, "Make ourselves masters and possessors of nature", Descartes was programming since the seventeenth century), it is the interpreter. And she taught in a specific order. Hence the organization of studies: the trivium (grammar, dialectic, rhetoric) and quadrivium (geometry, artithmétique, astronomy, music), finally philosophy (or theology). These are the disciplines who will be personified (often by reference to an authentic scholar (Aristotle, Pythagoras, Boethius, etc.)..

c. The exclusion of laziness :

If science is manifested in the work, it takes the number of figures who represent the antithetical figure of laziness which is under the form of the Wheel of Fortune. Randomly assign the task of providing for our sustenance, here is laziness the mother of all vices.

3. The Mirror of Morality .

The third dimension of knowledge, is the moral, behavioral science.

a. The novel model :

There is a moral novel model: The Psychomachia Prudence: the battle of virtues and vices that adorns many capitals. It is an internal struggle which will inspire sculptors novels. The Gothic will look elsewhere and not to the same models as they are illuminators and sculptors.

b. Gothic models for illumination:

The Tree of Virtues and Vices (below) of Hugh of St. Victor and the Ladder of Virtues of Honorius of Autun.

c. Sculptors :

They detain any of these models and contrast pairs virtues and vices.

We will hold with the theologians of the time, three catégiories virtues:

->. the theological virtues: Faith (idolatry), Hope (Vice: despair), Charity (vice: greed). These are virtues without which there is no hope of Hi.
->. the cardinal virtues: Chastity (vice: intemperance), Prudence (or Wisdom defect: insanity), Strength (or courage vice: cowardice), Justice (or obedience; vice: Rebellion).
->. other virtues, for example, humility (Vice: pride), patience (vice: anger), sweetness (vice: hardness), harmony (or peace; vice: discord), etc..

4. The Mirror of History

Finally, the cathedral will be the mirror History. Not to profane history is hardly provided with meaning, but the only history that is worth: Sacred History as recorded by the Old and New Testament . This History, will be to understand, that is to say, since the Old Testament is the proclamation of the New, to find correspondences between the two. The lives of saints on one side and the Jewish people, on the other, reason from one end to another of history. We must understand and explain these reasons.
Thus the Sacrifice of Isaac prefigures Does Christ's. The water from the rock by Moses the blood that escapes from the wound made in the side of Christ by Longinus. Jonas from the mouth of the whale, the resurrection of Christ. And so on. The windows of the cathedral are subtle commentaries on the Bible.

Let this piece of stained glass from Lyon. It establishes connections between Old Testament, New Testament and symbols. This gives, from bottom to top:

1. Isaiah the prophet who announced the birth of Jesus by a Madonna, the Annunciation, the angel who announces the birth of Jesus to the Virgin and the Unicorn, is a clean animal that can be approached only by a virgin.
2. The burning bush burning without being consumed, the Virgin birth without having "consumed" the fleece of Gideon is covered with dew no natural reason.
3. Abraham prepared to sacrifice Isaac in obedience to God, Jesus sacrificed himself on the cross for the salvation of men, the serpent of brass is high in the desert by Moses to save the Jews sent fiery serpents as punishment
4. spit Jonah by the whale returns to the world Jesus resurrected on the third day, the lions that seem dead in the first three days seem to come alive again the third under the inspiration of their father.
5. The kladrius is a bird that can tell whether a patient will live or die; Ascension of Christ who will live after death so the eagle is the bird that rises above and to learn to fly his small, the load on its wings.

Each text, moreover, carries three meanings: the literal or historical meaning (we reported a fact: Abraham existed) and a moral sense or tropological ( is the immediate meaning of this fact: the Faith. Abraham, despite the hesitations of God who gives and takes away a son obeys, no doubt for a second that it is God which he directs. He does not know that God tests his faith, of course, otherwise it would not be an ordeal, but he thinks). A mystical or allegorical meaning (the Crucifixion of Christ prefigured by the sacrifice of Isaac).

But the life of Christ (New Testament is to interpret). And legends attached to them without having figured. Thus one of two midwives and Salome Zelem example. One is surprised that Mary is still a virgin after giving birth and one question. When verifying the hand, it dries out. Only by asking forgiveness and Child Jesus and by an act of faith she finds the use of sipping his main sources of inspiration, in addition to the New Testament will The Golden Legend of Jacques de Voragine.

5. The Evolution representations.

can see the contents of Gothic sculpture and its sources. Consider also, ultimately, shape. Not the general characteristics discussed above, but its special features. Especially the evolution of certain figures, for example, the Virgin

a. Roman:

Virgin in Majesty. Frontal, hieratic sitting on his throne with the Child on her lap, she is the throne of God. Nothing that is feminine or maternal.

b. Early Gothic :

Top humanization of the Virgin. In the thirteenth century, the Virgin "humanized". The child slips on one knee and turned his face towards her mother, or playing with her.
d. Classic gothic :

The Virgin Mother. Here it is standing, holding the Child on her arm and smiling at him. The Virgin became a mother.

e. Latest Gothic

Woman. In the fifteenth century, is the Lady of Pain, the mother who just lost her child. Souffre.Ainsi the woman who, as God "humanized", as noted above, the Virgin is experiencing a similar humanization.
f. Life of the Virgin

Life of the Virgin becomes a key theme of writing in portals and on the facades of cathedrals. The scenes are represented most naturally the Annunciation, the Visitation, death and Assumption.
An apparently very common theme is stated on the tympanum of the Coronation of the Virgin. This view of things being otherwise objectionable. Indeed the fact of placing a wreath on the head d'une vierge équivaut de la part d'un homme à une demande en mariage. Il est évident que ce n'est pas sa mère que le Christ demande en mariage. Par ailleurs, on se souvient qu'une femme portant couronne caractérisait l'Eglise par opposition à la Synagoge. Ainsi, le Couronnement de la Vierge, ne serait en fait que le Mariage mystique de Dieu avec l'Eglise.
Cette représentation évolue au cours du temps. Dans la formule la plus ancienne, la couronne est déjà sur la tête de "la Vierge". Puis, il reviendra à un ange de déposer la couronne. Dans la formule finale, vers 1250 (la plus explicitement matrimoniale) c'est le Christ qui dépose la couronne sur la tête de l'Eglise.

The cathedral is not an arch in which mankind can seek refuge, not only the foreshadowing of the heavenly Jerusalem, it is a book. An encyclopedia or reflects all the knowledge of the Middle Ages. When, in Notre-Dame de Paris, Victor Hugo, entitled the chapter in which he mentions the invention of printing and the end of medieval architecture: This will kill it, it esprime perfectly the reality of Gothic sculpture.