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Les couleurs des albâtres anglais. Polychromie, production et perception médiévales

dc.contributor.authorSchlicht, Markus
dc.contributor.authorMounier, Aurélie
dc.contributor.authorMulliez, Maud
dc.contributor.otherMora, Pascal
dc.contributor.otherPacanowski, Romain
dc.date.accessioned2022-04-06T10:09:30Z
dc.date.available2022-04-06T10:09:30Z
dc.date.issued2021
dc.identifierONIX_20220406_9782356134042_7
dc.identifier.issn741-1818
dc.identifier.urihttps://directory.doabooks.org/handle/20.500.12854/80617
dc.languageFrench
dc.relation.ispartofseriesPrimaLun@
dc.subject.classificationthema EDItEUR::A The Arts::AG The Arts: treatments and subjects::AGA History of arten_US
dc.subject.classificationthema EDItEUR::N History and Archaeology::NH Historyen_US
dc.subject.otherPolychromy
dc.subject.otherreconstruction
dc.subject.othersculpture
dc.subject.otherMiddle Ages
dc.subject.otheralabaster
dc.subject.otherEngland
dc.subject.otherChristian devotion
dc.subject.otherdigital restoration
dc.subject.otherphysico-chemical analyses
dc.subject.othermicro-photography
dc.subject.otherexperimental archaeology
dc.subject.other3D digitization
dc.subject.otherphotogrammetry
dc.subject.otheroptical measurements
dc.subject.otherfacsimile
dc.subject.otherphysical copy
dc.subject.otherpainting techniques
dc.subject.otherpigments
dc.subject.othergilding
dc.subject.othersymbolism of colours
dc.subject.othermedieval vision
dc.subject.otherperception criteria
dc.subject.otheraesthetic principles
dc.subject.otherpatrons
dc.subject.otherBordeaux
dc.subject.otherLibourne
dc.subject.otherParis
dc.subject.otherRabastens
dc.subject.otherSaint-Nicolas-du-Bosc
dc.subject.otherNottingham
dc.subject.otherLondon
dc.titleLes couleurs des albâtres anglais. Polychromie, production et perception médiévales
dc.typebook
oapen.abstract.otherlanguageBetween c. 1350 and 1550, English sculptors carved thousands of panels depicting religious scenes from alabaster quarries around Nottingham. Exported throughout Europe, these polychrome reliefs were originally usually assembled to form altarpieces. Their coloured epidermis, an integral part of these works that can be termed three-dimensional paintings, has now often disappeared. A multidisciplinary team (art historian, archaeologist, artist and specialist in ancient polychromy, 3D engineers and optodigital researcher) has analysed and reconstructed the polychromy of several of these English panels preserved in the Bordeaux region. The physico-chemical analyses made it possible to determine the nature of the materials used and to recreate the paints used by the alabastermen. These data were used to produce an alabaster facsimile as well as two 3D models with their digital polychromy. As the polychromy of English alabaster works is highly standardised, these examples can be considered as representative of the appearance that the vast majority of the panels must have showed. The study thus allows us to address broader themes, such as the aesthetic and symbolic qualities of the colours used by the alabastermen, or the way in which these were perceived by the medieval viewer.
oapen.identifier.doi10.46608/primaluna11.9782356134042
oapen.relation.isPublishedBybfc06fa5-0f79-4168-bed3-99215f2f51e2
oapen.relation.isbn9782356134042
oapen.relation.isbn9782356134066
oapen.relation.isbn9782356134059
oapen.imprintPôle Production Imprimé, Université Bordeaux Montaigne
oapen.series.number11
oapen.pages124
oapen.place.publicationPessac


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