Giacobbe Giusti, ADAM, cathédrale Notre-Dame de Paris

Giacobbe Giusti, ADAM, cathédrale Notre-Dame de Paris

Adam, vers 1260. Statue provenant de la cathédrale Notre-Dame de Paris. L’artiste s’est attaché à un certain réalisme inspiré des formes de l’Antiquité classique.

La sculpture gothique est intimement liée à l’architecture gothique qui s’épanouit dans la seconde partie du Moyen Âge en Europe occidentale. Il s’agit au départ d’une sculpture monumentale, immeuble par destination[1], mais son étude concerne également celle de la sculpture funéraire, du mobilier et des objets somptuaires.

https://fr.wikipedia.org/wiki/Sculpture_gothique

http://www.giacobbegiusti.com

 

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Giacobbe Giusti, Crucifix du Maestro di San Francesco (Louvre)

Giacobbe Giusti, Crucifix du Maestro di San Francesco (Louvre)

recommandations des projets correspondants.

Crucifix du Maestro di San Francesco (Louvre)
Master Of St Francis - Crucifix - WGA14504.jpg
Artiste
Date
1260-1265
Technique
peinture a tempera et or sur panneau de bois de peuplier
Dimensions (H × L)
96.5 × 73 cm
Localisation
Musée du Louvre, Paris (France)
Numéro d’inventaire
RF 1981-48Voir et modifier les données sur Wikidata

Le Crucifix du Maestro di San Francesco (Louvre) est un crucifix peint à tempera et or sur panneau de bois de peuplier. Réalisé en 1260 environ il est attribué au Maestro di San Francesco, et conservé au musée du Louvre, à Paris depuis 1981.

Histoire

Issu d’une collection privée (1880), vendu en 1972, puis transmis à la compagnie des prêtres de Saint-Sulpice (1978), il est acquis pour le musée du Louvre en 1981[1].

Description

Le Christ est du type dolens, de la représentation humanisante franciscaine et dominicaine :

Le Christ se doit d’être alors représenté mort, souffrant sur la croix (et non plus triomphant ou résigné) :

  • La tête baissée sur l’épaule,
  • les yeux fermés soit absents, énucléés (orbites vides),
  • marques de douleur sur le visage,
  • la bouche est incurvée vers le bas,
  • les plaies sont saignantes (mains, pieds et flanc droit),
  • Le corps tordu déhanché, arqué dans un spasme de douleur, subissant son poids terrestre,
  • schématisation des muscles et des côtes.

Le crucifix ne comporte des scènes annexes qu’aux flancs du Christ :

  • à gauche : Marie en entier, accompagnée d’une femme,
  • à droite : Jean en entier, accompagné d’un apôtre,

En haut de la croix le titulus expose le texte de l’INRI en entier en or sur fond rouge, les extrémités de la croix des motifs géométriques.

Articles connexes

https://fr.wikipedia.org/wiki/Crucifix_du_Maestro_di_San_Francesco_(Louvre)

http://www.giacobbegiusti.com

 

Giacobbe Giusti, CHIMERA of Arezzo

Giacobbe Giusti, CHIMERA of Arezzo

Chimera of Arezzo (detail). Bronze. First half of the 4th century BCE.  Florence, National Archaeological Museum

Chimera of Arezzo (detail)

Bronze. First half of the 4th century BCE.
Height ca. 80 cm.

Florence, National Archaeological Museum
(Museo archeologico nazionale di Firenze)

 

Giacobbe Giusti, CHIMERA of Arezzo

Giacobbe Giusti, CHIMERA of Arezzo

Chimera of Arezzo
Chimera d'arezzo, fi, 04.JPG
Year c. 400 BC
Type bronze
Location Museo Archeologico Nazionale, Florence

The bronze “Chimera of Arezzo” is one of the best known examples of the art of the Etruscans. It was found in Arezzo, an ancient Etruscan and Roman city in Tuscany, in 1553 and was quickly claimed for the collection of the MediciGrand Duke of TuscanyCosimo I, who placed it publicly in the Palazzo Vecchio, and placed the smaller bronzes from the trove in his own studiolo at Palazzo Pitti, where “the Duke took great pleasure in cleaning them by himself, with some goldsmith’s tools,” Benvenuto Cellini reported in his autobiography. Court intellectuals of the time considered the Chimera of Arezzo to be a symbol of the Medici domination of the grand duchy.The Chimera is still conserved in Florence, now in the Archaeological Museum. It is approximately 80 cm in height.[1]

In Greek mythology the monstrous Chimera ravaged its homeland, Lycia, until it was slain by Bellerophon. The goat head of the Chimera has a wound inflicted by this Greek hero. Based on the cowering, representation of fear, and the wound inflicted, this sculpture may have been part of a set that would have included a bronze sculpture of Bellerophon. This bronze was at first identified as a lion by its discoverers in Arezzo, for its tail, which would have taken the form of a serpent, is missing. It was soon recognized as representing the chimera of myth and in fact, among smaller bronze pieces and fragments brought to Florence, a section of the tail was soon recovered, according to Giorgio Vasari. The present bronze tail is an 18th-century restoration.

The Chimera was one of a hoard of bronzes that had been carefully buried for safety some time in antiquity. They were discovered by accident, when trenches were being dug just outside the Porta San Laurentino in the city walls. A bronze replica now stands near the spot.

Inscribed on its right foreleg is an inscription which has been variously read, but most recently is agreed to be TINSCVIL, showing that the bronze was a votive object dedicated to the supreme Etruscan god of day, Tin or Tinia. The original statue is estimated to have been created around 400 BC.

In 2009 and 2010 the statue traveled to the United States where it was displayed at the Getty Villa in Malibu, California.[1][2][3]

 

https://en.wikipedia.org/wiki/Chimera_of_Arezzo

http://www.giacobbegiusti.com

 

Giacobbe Giusti, PIETRO CAVALLINI: mosaics at the apse of Basilica di Santa Maria in Trastevere

Giacobbe Giusti, PIETRO CAVALLINI: mosaics at the apse of Basilica di Santa Maria in Trastevere

 

Giacobbe Giusti, PIETRO CAVALLINI: mosaics at the apse of Basilica di Santa Maria in Trastevere

https://it.wikipedia.org/wiki/Pietro_Cavallini

http://www.giacobbegiusti.com