DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.43447#0443
4
THE INTERNATIONAL STUDIO
July, IQII
Art Galleries
Information concerning paintings and other objects of
art, or the galleries from which they may be purchased,
cheerfully furnished by this department on request.
Address ART PURCHASING DEPARTMENT,
The International Studio, 114 West Thirty-second Street, New York.
LONDON KYOTO
OSAKA BOSTON
Yamanaka & Co.
254 FIFTH AVENUE
NEW YORK
Works of Art from the
Far EaSt
CLASSIFIED EXHIBITIONS
-of-
INTERESTING OBJECTS
Are Held in Our New Galleries
The Ehrich Galleries
“©Iti Rasters”
OF ALL THE SCHOOLS
Special Attention Given to Expertising, Restoring and Framing
FIFTH AVENUE AND 40th ST., NEW YORK
MAISON AD. BRAUN & CO.
BRAUN & CO., Successors
FINE ART PUBLISHERS
Annonnce Removal to Their New Building
13 WEST 46th STREET, NEW YORK
PAINTINGS
BY
AMERICAN ARTISTS
CHOICE EXAMPLES ALWAYS ON VIEW
ALSO
SMALL BRONZES AND VOLKMAR POTTERY
WILLIAM MACBETH
450 FIFTH AVENUE NEW YORK
EXHIBITION OF RARE ETCHINGS BY
Sir Seymour Haden Hedley Fitton
D. T . Cameron Axel H. Haig
C. W. KRAUSHAAR ART GALLERIES
260 FIFTH AVENUE, near 29th Street, NEW YORK
French medieval sculp-
ture
Until toward the middle of the twelfth
century the Domaine Royal lagged behind
the country south of the Loire, Burgundy
and Normandy, writes Royall Tyler, in the
London Spectator. Louis VI strengthened
the crown by enlisting the towns in its ser-
vice against the vassals and prepared the
way for the building of great secular
churches that began before the close of his
reign. The astonishing rapidity with
which an entirely new style is formed in
this region when once social conditions are
favorable is chiefly due to the northern
architect’s knowledge of the ogival vault.
The porch and east end of St. Denis were
finished before 1150; the east end of Notre
Dame, of Paris, and important portions of
Sens, Laon and Senlis, to mention well-
known churches only, were built within the
next thirty years. Thus before the twelfth
century had completed all its most remark-
able monuments in the south Gothic cathe-
drals were rising up in the Ile-de-France.
There is no abrupt break between the style
of sculptured decoration in the first great
- northern churches and in contemporary
Romanesque buildings in the south. Take
the triple west porch of Chartres, by far the
most important assemblage of mid-twelfth
century sculpture in the Domaine Royal.
From fragments that remain of the old
decoration of the porch of St. Denis it is
clear that its style was the same as that of
the west door at Chartres. The church of
St. Loup-de-Naud, near Provins, has a
well-preserved porch in precisely the same
manner, and fragments from other places
show that the same style prevailed at the
time throughout the Domaine Royal.
Casts of large parts of these monuments
may be compared at the Trocadero.
On the whole this sculpture is technically
finer than anything in Burgundy or the
south, excepting the Toulouse capitals and
a few other isolated fragments, such as the
jambs of Charlieu. In spite of great like-
ness in the manner of treating decorative
motives there is a decided change in the
spirit of the whole that comes out most
strongly in the general composition of the
doorway. Instead of crowding all his fig-
ure sculpture into a top-heavy tympanum
the man who designed the Royal (west)
Portal of Chartres reserved this place for
Our Lord, surrounded by the Evangelists’
beasts, and placed large standing figures on
the faces of the columns in the jambs.
These figures are lengthened and narrowed
out of all resemblance to the proportions of
the human body, with the definite purpose
of giving expression to the supports. Thus
the porch gains enormously in symmetry,
and the disposition that was to be followed
throughout the Gothic period is deter-
mined in its essentials. The individual
figures are far simpler and more lifelike
than the angels and saints of Moissac and
Vezelay, and the folds of their dresses are
no longer used in a purely arbitrary man-
ner for the sake of a decorative play of
lines. Nobility and beauty of face and
form are achieved; witness the magnificent
Solomon and Queen of Sheba now at St.
Denis, which once adorned a church at
Corbeil, but are so near the Chartres work
in style that they may well be by the same
hand. The same ardor for technical re-
finement and simplification, the same con-
scientiousness in suppressing all excess in
THE INTERNATIONAL STUDIO
July, IQII
Art Galleries
Information concerning paintings and other objects of
art, or the galleries from which they may be purchased,
cheerfully furnished by this department on request.
Address ART PURCHASING DEPARTMENT,
The International Studio, 114 West Thirty-second Street, New York.
LONDON KYOTO
OSAKA BOSTON
Yamanaka & Co.
254 FIFTH AVENUE
NEW YORK
Works of Art from the
Far EaSt
CLASSIFIED EXHIBITIONS
-of-
INTERESTING OBJECTS
Are Held in Our New Galleries
The Ehrich Galleries
“©Iti Rasters”
OF ALL THE SCHOOLS
Special Attention Given to Expertising, Restoring and Framing
FIFTH AVENUE AND 40th ST., NEW YORK
MAISON AD. BRAUN & CO.
BRAUN & CO., Successors
FINE ART PUBLISHERS
Annonnce Removal to Their New Building
13 WEST 46th STREET, NEW YORK
PAINTINGS
BY
AMERICAN ARTISTS
CHOICE EXAMPLES ALWAYS ON VIEW
ALSO
SMALL BRONZES AND VOLKMAR POTTERY
WILLIAM MACBETH
450 FIFTH AVENUE NEW YORK
EXHIBITION OF RARE ETCHINGS BY
Sir Seymour Haden Hedley Fitton
D. T . Cameron Axel H. Haig
C. W. KRAUSHAAR ART GALLERIES
260 FIFTH AVENUE, near 29th Street, NEW YORK
French medieval sculp-
ture
Until toward the middle of the twelfth
century the Domaine Royal lagged behind
the country south of the Loire, Burgundy
and Normandy, writes Royall Tyler, in the
London Spectator. Louis VI strengthened
the crown by enlisting the towns in its ser-
vice against the vassals and prepared the
way for the building of great secular
churches that began before the close of his
reign. The astonishing rapidity with
which an entirely new style is formed in
this region when once social conditions are
favorable is chiefly due to the northern
architect’s knowledge of the ogival vault.
The porch and east end of St. Denis were
finished before 1150; the east end of Notre
Dame, of Paris, and important portions of
Sens, Laon and Senlis, to mention well-
known churches only, were built within the
next thirty years. Thus before the twelfth
century had completed all its most remark-
able monuments in the south Gothic cathe-
drals were rising up in the Ile-de-France.
There is no abrupt break between the style
of sculptured decoration in the first great
- northern churches and in contemporary
Romanesque buildings in the south. Take
the triple west porch of Chartres, by far the
most important assemblage of mid-twelfth
century sculpture in the Domaine Royal.
From fragments that remain of the old
decoration of the porch of St. Denis it is
clear that its style was the same as that of
the west door at Chartres. The church of
St. Loup-de-Naud, near Provins, has a
well-preserved porch in precisely the same
manner, and fragments from other places
show that the same style prevailed at the
time throughout the Domaine Royal.
Casts of large parts of these monuments
may be compared at the Trocadero.
On the whole this sculpture is technically
finer than anything in Burgundy or the
south, excepting the Toulouse capitals and
a few other isolated fragments, such as the
jambs of Charlieu. In spite of great like-
ness in the manner of treating decorative
motives there is a decided change in the
spirit of the whole that comes out most
strongly in the general composition of the
doorway. Instead of crowding all his fig-
ure sculpture into a top-heavy tympanum
the man who designed the Royal (west)
Portal of Chartres reserved this place for
Our Lord, surrounded by the Evangelists’
beasts, and placed large standing figures on
the faces of the columns in the jambs.
These figures are lengthened and narrowed
out of all resemblance to the proportions of
the human body, with the definite purpose
of giving expression to the supports. Thus
the porch gains enormously in symmetry,
and the disposition that was to be followed
throughout the Gothic period is deter-
mined in its essentials. The individual
figures are far simpler and more lifelike
than the angels and saints of Moissac and
Vezelay, and the folds of their dresses are
no longer used in a purely arbitrary man-
ner for the sake of a decorative play of
lines. Nobility and beauty of face and
form are achieved; witness the magnificent
Solomon and Queen of Sheba now at St.
Denis, which once adorned a church at
Corbeil, but are so near the Chartres work
in style that they may well be by the same
hand. The same ardor for technical re-
finement and simplification, the same con-
scientiousness in suppressing all excess in