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Reforming Teacher Education in Portugal: A call for innovation and old-fashioned action
No full textPortugal has a serious problem to solve immediately: the proven lack of teachers to ensure the constitutional right of access to free education in the public education system. Today, in Portugal, more than 30,000 pupils in primary and secondary education are without teachers in some areas of the curriculum.
Although this is an urgent problem, the first topic to be addressed here is the in-service training of current teachers. The degree of urgency in reforming this type of training is less than the shortage of teachers mentioned above, (which will be addressed later in the paper), but the consequence of maintaining the status quo is no less degrading. Unless pre-service training is carried out in the right place (universities and polytechnics), teacher education programmes exist in a kind of logistical chaos, with no attempt to reorganise the system by governments since the 1990s
Before Time, after Time: existential time markers in Ancient Egypt - beginning, end and restart. A preliminary approach (with a special focus on the Heliopolitan conception)
No full textIn ancient Egypt, Time was part of the whole “being” that was brought into existence in the “First Time” (sp tpj). Following a linear conception (D.t) of Time we might ask: if Time had a beginning, should we expect for it to come to an end? However, the simultaneous Egyptian circular approach to Time (nHH) turns each end into a new beginning. How should we approach Time before its existence? Can we refer to a “post-Time”? Is the “end” definitive or temporary, awaiting for the (re)start of a new Demiurge’s action? Is the immobility of the pre-Creation similar to one after the “end of the world”? This paper intends to be a preliminary approach to this issue. We will follow the traces suggested by some textual sources, focusing on the Demiurge, an entity connected to Time by means of creation and destruction
Chinese Historical Records and Sino-Roman Relations: A Critical Approach to Understand Problems on the Chinese Reception of the Roman Empire
No full textIt has long been known that Chinese records provide a considerable amount of information on Daqin 大秦 i. e. Great Qin [synonym of Roman Empire in Chinese records]. Nevertheless, interpretation of these accounts requires a more coherent nexus. Apart from problems of authenticity of written works, characteristics of Chinese historiography and other genres should also be considered. In light of such complexities, grouping Chinese sources on Daqin by relevance, type (e. g. historiographies or geographical treaties etc.) and date (referring to events before or after the 5th/6th century) might lead towards a better understanding of multifaceted perceptions defined by their description.In this manner, through a comparison of Daqin-picture(s) given by these accounts with a review of Roman and Roman-related archaeological finds discovered in China, the paper aims to give a more sophisticated interpretation of the reception of Rome in the Middle Empire and also intends to highlight problems on understanding Sino-Roman relations
Sources that study Antiquity: study perspectives on Herodotus’ Histories, or how have the historians interpreted the father of History
No full textThe study of Antiquity presents theoretical and practical challenges to the researcher in every investigation. Studying, however, a source that not only contains potential information about the Past, but that also produces an historical investigation, confronts the researcher with a whole different kind of challenge, one that necessarily calls into question the understanding of the discipline and its praxis. This article aims to analyse this subject by considering the case of the Histories.Not long after Herodotus wrote it (around the 5th century BC), the Histories generated much debate, either about the way in which the narrative was constructed, the subjects the author took closer attention to, or the methods used throughout the research. This article provides some study perspectives on both content and form of this source, in order to understand how have historians approached and interpreted Herodotus’ work since then
A comunicação pública e as agências reguladoras brasileiras
Get PDFThe article presents the results of the research done on public communication in the digital environment of Brazilian regulatory agencies. Being federal autarchies created in essence, with a great level of political independence and, in this case, public structures, we understand the Brazilian regulatory agencies as places conducive to mediate the relationship of the citizen with the service providers. Part of the discussions about the agencies, in the academic field, has taken place in the legal field. In this sphere, still incipient, researchers such as Mastrangelo (2005), Krause (2005), Morais (2001) question the dimension of public communication, that is, the relational zone / space where the citizen should take place for the exhibition of their demands, place for dialogue and the construction of more egalitarian conditions of social participation. Conducted by the Hermeneutics of Depth, proposed by Thompson (1995), we discuss, in this article, the public communication resorting to the normative and factual dimensions (Esteves, 2011). Public communication as an instance that shelters the concept and praxis capable of democracies, we identify, on the part of the agencies, informative communicative practices that do not collaborate for the development of participatory / dialogical processes and, therefore, do not contribute to the exercise of citizenship.O artigo apresenta os resultados da pesquisa realizada sobre a comunicação pública na ambiência digital das agências reguladoras brasileiras. Por tratar-se de autarquias federais criadas, em essência, com grande nível de independência política e, ainda neste caso, estruturas públicas, entendemos as agências reguladoras brasileiras como lugares propícios para mediar o relacionamento do cidadão com as prestadoras de serviço. Parte das discussões acerca das agências, no âmbito acadêmico, tem se dado no campo jurídico. Nesta esfera, de forma ainda incipiente, pesquisadores como Mastrangelo (2005), Krause (2005), Morais (2001) questionam sobre a dimensão da comunicação pública, ou seja, a zona/espaço relacional onde o cidadão deveria ter lugar para a exposição de suas demandas, lugar para o diálogo e a construção de condições mais igualitárias de participação social. Conduzidos pela Hermenêutica de Profundidade, proposta por Thompson (1995), discutimos, no presente artigo, a comunicação pública recorrendo às dimensões normativas e fáticas (Esteves, 2011) da comunicação pública como instância que abriga o conceito e a práxis capazes de imprimir qualidade às democracias. Identificamos, por parte das agências, práticas comunicativas informacionais que não colaboram para o desenvolvimento de processos participativos/dialogais e, portanto, não contribuem para o exercício da cidadania.
 
Merchants of Truth: The Business of News and the Fight for Facts [EPUB], Nova Iorque: Simon & Schuster, 2019, de Jill Abramson; Breaking News: The Remaking of Journalism and Why it Matters Now [EPUB], Edimburgo: Canongate (E-book), 2018, de Alan Rusbridge
Get PDFA partir dos contributos de Alan Rusbridger, Stephen Ward e Jill Abramson, este texto procura discutir o espaço e papel da informação pública e dos jornalistas no funcionamento dos regimes democráticos e das suas instituições. Simultaneamente, busca localizar os desafios contemporâneos colocados à relação entre a sociedade e a informação, incidindo em fatores como a transformação do ecossistema comunicacional ou a crise do modelo de negócio da informação.A partir dos contributos de Alan Rusbridger, Stephen Ward e Jill Abramson, este texto procura discutir o espaço e papel da informação pública e dos jornalistas no funcionamento dos regimes democráticos e das suas instituições. Simultaneamente, busca localizar os desafios contemporâneos colocados à relação entre a sociedade e a informação, incidindo em fatores como a transformação do ecossistema comunicacional ou a crise do modelo de negócio da informação
Twelfth and early thirteenth century polychromy at the northernmost edge of Europe: past analyses and future research
No full textThe paper focuses on medieval wooden sculptures in the 12th and early 13th century in Norway, with preserved original polychromy. The presentation of materials used in the construction, the painting and gilding are based on material analyses. Their application is discussed and compared to those produced in the period that immediately follows. Conclusions reached about the characteristics of this period allow future research to be suggested.It is clear from the evidence gained that both the making and the perception of Catholic church art in medieval Norway was firmly rooted in an established culture consistent with Christian paradigms found in the rest of medieval Europe. The analytical results from the examination of sculpture preserved in Norway are therefore relevant to a wider European context. To what extent medieval sculpture was imported or produced in Norway and by whom is an ongoing discussion. A better knowledge of the sculptural traditions of a wider geographical area will provide the context required to improve our understanding of the cultural exchanges of the medieval period.
Bibliography
Manuscripts
BREPOHL, Erhard (transl.) – Theophilus Presbyter und das Mittelalterliche Kunsthandwerk: Gesamtausgabe der Schrift De Diversis Artibus in Zwei Bänden. Vol. 1: Malerei und Glas. Köln: Böhlau, 1999.
BROECKE, Lara (transl.) – Cennino Cennini’s Il Libro Dell’arte. London: Archetype Publications, 2015.
MS AM 194.8° in the Arnamagnæan Institute, University of Copenhagen.
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ELKINS, James – “On Some Limits of Materiality in Art History,” in NEUNER, Stefan; GELSHORN, Julia (ed.) – Taktilität: Sinneserfahrung als Grenzerfahrung. Das Magazin des Instituts für Theorie 12, 2008, pp. 25-30.
ENDEMANN, Klaus – “Zur Holzskulptur Des Frühen Mittelalters. Voraussetzungen und Funktion – Schnitztechnik und Fassung”, Zeitschrift für Kunsttechnologie und Konservierung 26/1, 2012, pp. 400-434.
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HAASTRUP, Ulla – “Byzantisk klædte ærkeengle i danske fresker: Kombinationen af ærkeengle med Majestas Domini i 1. halvdel af 1100-tallet”, Nordic Review of Iconography 1, 2014, pp. 6-36.
HALLDÓRSSON, Ólafur – “Líkneskjusmið”, Árbók hins íslenzka fornleifafélags 1973, 1974, pp. 5-17.
HARVEY, Joshua; KOLLANDSRUD, Kaja; SMITHSON, Hannah – “Not all that Glitters: Probing Material Perception with a Physical Imitation-gold Stimulus”, AVA Christmas Meeting, Queen Mary University of London, December 18, 2017, Perception 47, 2018.
HOHLER, Erla B.; MORGAN, Nigel J.; WICHSTRØM, Anne – Painted Altar Frontals of Norway, 1250-1350. vol. 1: Artists, Styles and Iconographye. London: Archetype Publications, 2004.
JÄGER, Elisabeth – “Zur Polychromie der Kölner Skulptur vom 12.- Bis zum Ende des 14. Jahrhunderts”. in BERGMANN, U. (ed.) – Schnütgen-Museum. Holzskulpturen des Mittelalters, (1000-1400). Köln: Schnütgen-Museum, 1989, pp. 99-104.
KALAND, Bjørn – “Baldakin Fra Hopperstad – Madonna Fra Hove”, Foreningen til norske fortidsminnesmerkers bevaring LIX. Oslo: Foreningen til norske fortidsminnesmerkers bevaring, 1973, pp. 1-14.
KARGÈRE, Lucretia; RIZZO, Adriana – “Twelfth-Century French polychrome sculpture in The Metropolitan Museum of Art: Materials and Techniques”. Metropolitan Museum Studies in Art, Science, and Technology 1, 2010, pp. 39-72.
KAUSLAND, Kristin – “Late Medieval Paintings in Norway – Materials, Techniques, Origins”. Zeischrift für Kunsttechnologie und Konservierung 31/1, 2016, pp. 47-66.
KITZINGER, Ernst – “The Byzantine Contribution to Western Art of the Twelfth and Thirteenth Centuries”. Dumbarton Oaks Papers 20, 1966.
KLOCKE, Jens; LEHMANN, Jirina – “Technik des Unterlegens von grobkörnigen Pigmenten: die Veneda des Theophilus”. Restauro 107/5, 2001, pp. 373-375.
KOLLANDSRUD, Kaja – "Krusifiks fra Haug kirke Buskerud C nr. 3604: Undersøkelser og behandling." Varia 27, 1994.
KOLLANDSRUD, Kaja – “Vasaris Theory of the Origins of Oil Painting and Its Influence on Cleaning Methods: The Ruined Polychromy of the Early Thirteenth Century Crucifix from Haug, Norway”. in LINDLEY, Phillip (ed.) – Sculpture Conservation: Preservation or Interference?, Liverpool: Scholar Press, Ashgate Publishing Company, 1997, pp. 139-149.
KOLLANDSRUD, Kaja – “Technological Mapping of Norwegian Polychrome Wooden Sculpture, 1100-1350: a Preliminary Overview”. in HOFSETH, Ellen H. (ed.) UKM skrifter 1. Oslo: Universitetets kulturhistoriske museer, 2002, pp. 125-141.
KOLLANDSRUD, Kaja – “340 Kruzifix aus Lunder”. in KROKER, Martin (ed.) – Credo. Christianisierung Europas im Mittelalter. Katalog Band II, VI Sterbende götter: Christianisierung Skandinaviens. Petersberg: Michael Imhof Verlag, 2013, pp. 340-341.
KOLLANDSRUD, Kaja – “Polychrome Light in Medieval Norwegian Church Art (12th–13th Centuries)”. in KROESEN, Justin E. A.; SAUERBERG, Marie Louise; NYBORG, Ebbe (ed.) – From Conservation to Interpretation: Studies in Religious Art (c. 1100–c. 1800) in Northern and Central Europe in Honour of Peter Tångeberg. Leuven: Peeters verlag, 2017, pp. 57-82.
KOLLANDSRUD, Kaja – Evoking the Divine: The Visual Vocabulary of Sacred Polychrome Wooden Sculpture in Norway between 1100 and 1350. Oslo: University of Oslo, 2018. Unpublished PhD thesis.
KOLLANDSRUD, Kaja – “Between Heaven and Earth”. in BJERREGAARD, Peter (ed.) – Transformation: Faith and Sacred Objects in the Middle Ages. Trondheim: Museumsforlaget AS, 2018, pp. 68-71.
KOLLANDSRUD, Kaja – “The Divine Communicated through Embodied Light in Medieval Sculpture in Norway”. Selected papers from the conference Science, Imagination, Wonder: Robert Grosseteste and his Legacy. Pembroke College, Oxford University, 3-5. April 2018. Brepols; due 2019.
KOLLANDSRUD, Kaja; HUTH, Nadine – “Beyond the Precious with Painterly Effects: The Thirteenth Century Sculpted Frontal from Komnes, Buskerud in Norway”. in GRINDER-HANSEN, Poul (ed.) – Image and Altar 800-1300. Papers from an International Conference in Copenhagen 24-27 October. Copenhagen: PNM Publications from the National Museum Studies in Archaeology & History 2014, pp. 229-246.
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NADOLNY, Jilleen – The Techniques and use of Gilded Relief Decoration by Northern European Painters, c. 1200-1500. London: University of London, 2001. Unpublished PhD thesis.
NADOLNY, Jilleen – “All That is Burnished isn’t Bole. Reflections on Medieval Water Gilding: Part 1: Early Medieval to 1300”. in NADOLNY, Jilleen (ed.) – Medieval Painting in Northern Europe. Techniques, Analysis, Art History. London: Archetype, 2006, pp. 148-162.
NADOLNY, Jilleen – “One Craft, many Names: Gilders, Preparers, and Polychrome Painters in the 15th and 16th Centuries.” in Art Technical Source Research. ICOM-CC, 2008, pp. 10-17.
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PERCH-NIELSEN, Katharina von Salis; PLAHTER, Unn – “Analyses of Fossil Coccoliths in Chalk Grounds of Medieval Art in Norway”. in MALMANGER, Magne; BERCELLY, Lazlo; FUGLESANG, Signe (ed.) – Norwegian Medieval Frontals. Acta ad archaeologiam et artivm historiam pertinentia XI. Papers from the Conference in Oslo December 1989. Roma: Giorgia Bretschneider, 1995, pp. 145-156.
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PLAHTER, Leif E. – “Paint Analyses of the Crucifix from Eggedal”. Universitetets Oldsaksamlings årbok 1960-1961, 1963, pp. 94-108.
PLAHTER, Unn – “Noen observasjoner i 1100-tallets bemaling sett i relasjon til antemensalemaleriet”. Paper presented at the Nordisk konservatorforbund’s 9. kongress, Oslo, 1981, pp. 71-78.
PLAHTER, Unn – “Líkneskjusmíð: 14th-Century Instructions for Painting from Iceland”. in MALMANGER, Magne; BERCELLY, Laszlo; FUGLESANG, Signe (ed.) – Norwegian Medieval Altar Frontals and Related Material. Roma: Giorgio Bretschneider, 1995, pp. 157-72.
PLAHTER, Unn – “A Survey of Pigments and Pigment application on 31 Norwegian Medieval Oil Paintings from the period 1250-1350”. in VONTOBEL, R. (ed.) – Preprints of the ICOM-CC 13th Triannial Meeting, Rio de Janeiro, 22-27. September. London: James and James Science Publishers Ltd., 2002, vol. 1, pp. 446-454.
PLAHTER, Unn – Painted Altar Frontals of Norway, 1250-1350. Vol. 2: Materials and Technique. London: Archetype Publications, 2004.
PLAHTER, Unn – “The Crucifix from Hemse: Analyses of the Painting Technique”. in NADOLNY, Jilleen (ed.) – Medieval Painting in Northern Europe. Techniques, Analysis, Art History. London: Archetype, 2006 (First printed 1984), pp. 11-20.
PLAHTER, Unn – “Medieval Painting Materials and Techniques in Norway. To what extent did the Painters tempt to Simulate Goldsmith’s Work?”, Zeitschrift für Kunsttechnologie und Konservierung 24/1, 2010, pp. 160-169.
PLAHTER, Unn – “The Trade in Painter's Materials in Norway in the Middle Ages. Part 2: Materials, Technique and Trade from the Twelfth Century to the Mid-Fourteenth Century”. in KIRBY, Jo; NASH, Susie; CANNON, Joanna (ed.) – Trade in Artist's Materials. Markets and Commerce in Europe to 1700. London: Archetype publisher, 2010, pp. 64-73.
PLAHTER, Unn – “Norwegian Art Technology in the Twelfth and Thirteenth Centuries: Materials and Techniques in a European Context”. Zeitschrift für Kunsttechnologie und Konservierung 28/1 (2014), pp. 298-332.
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SCHOLTKA, Annette – “Theophilus Presbyter – Die Maltechnischen Anweisungen und Ihre Gegenüberstellung mit Naturwissenschaftlichen Untersuchungsbefunden”. Zeitschrift für Kunsttechnologie und Konservierung, 6/1, 1992, pp. 44-45.
SELSJORD, Marianne – “The ‘Golden Madonna’ from Dyste Church”. In Yearbook of the Historical Archives of Historical Art Technology. Technologia Artis. Prague: The Union of Czech Artists in collaboration with the Institute for Art history ^CSAV and the Academy of Fine Arts in Prague, 1993, pp. 113-116.
SERCK-DEWAIDE, Myriam – “The History and conservation of the surface coating on European gilded-wood Objects”. in BIGELOW, D.; CORNU, E.; LANDREY, G. J.; VAN HORNE, C. (ed.) – Gilded Wood, Conservation and History. Sound View Press, Madison (CT), 1991, pp. 65-73.
TAUBERT, Johannes – Polychrome Sculpture: Meaning, Form, Conservation. MARINCOLA, Michele D. (trans.). Getty Conservation Institute: Getty Publications, 2015.
TÅNGEBERG, Peter – Holzskulptur Und Altarschrein. Studien Zu Form, Material Und Technik Mittelalterliche Plastik in Schweden. München: Georg D. W. Callwey, 1989.
TÅNGEBERG, Peter – “The Crucifix from Hemse: Analyses of the Painting Technique”. in NADOLNY, Jilleen (ed.) – Medieval Painting in Northern Europe. Techniques, Analysis, Art History. London: Archetype, 2006 (First printed 1984), pp. 1-10.
URBANEK, Regina – “Die Hovener Madonna – Bestand und Bewertung”, Zeitschrift für Kunsttechnologie und Konservierung 30/2, 2016, pp. 261-228.
WHITE, Raymond – “Analyses of Norwegian Medieval Paint Media: A Preliminary Report”. in MALMANGER, Magne, BERCELLY, Laszlo and FUGLESANG, Signe (ed.) – Norwegian Medieval Altar Frontals and Related Material. Roma: Giorgio Bretschneider, 1995, pp. 127-136.
WIIK, Svein – “Líkneskjusmíð. Medieval Polychrome Technique in Iceland”. Zeitschrift für Kunsttechnologie und Konservierung 9, 1995, pp. 327-336.
WILLIAMSON, Beth – “Material Culture and Medieval Christianity”. in ARNOLD, John H. (ed.) – The Oxford Handbook of Medieval Christianity. Oxford, 2014.
WILLIAMSSON, Paul – Gothic Sculpture 1140-1300, Pelican History of Art. New Haven and London: Yale University Press, 1995.
WINFIELD, David C. – “Middle and later Byzantine Wall Painting Methods. A Comparative Study”. Dumbarton oaks Papers. Washington: Dumbarton Oaks Centre for Byzantine Studies, Trustees for Harvard University, 1968.O artigo foca-se em esculturas medievais de madeira dos séculos XII e XIII na Noruega, com policromia original preservada. A apresentação de materiais usados na construção, na pintura e na douradura baseiam-se na análise de materiais. A sua aplicação é discutida e comparada com casos do período imediatamente a seguir. As conclusões alcançadas relativamente às características deste período permitem a sugestão de investigação futura. Fica claro, a partir das evidências obtidas, que tanto a forma de fazer como a forma de percepcionar a arte da Igreja Católica na Noruega medieval estava firmemente enraizada numa cultura estabelecida que era consistente com os paradigmas cristãos encontrados no resto da Europa medieval. Os resultados analíticos do exame da escultura preservada na Noruega são, portanto, relevantes para um contexto europeu mais vasto. Até que ponto a escultura medieval foi importada para ou produzida na Noruega e por quem é uma discussão em aberto. Conhecer melhor as tradições escultóricas de uma área geográfica mais abrangente providenciará o contexto necessário para aperfeiçoarmos o entendimento que temos das trocas culturais do período medieval.
Referências bibliográficas
Manuscritos
BREPOHL, Erhard (transl.) – Theophilus Presbyter und das Mittelalterliche Kunsthandwerk: Gesamtausgabe der Schrift De Diversis Artibus in Zwei Bänden. Vol. 1: Malerei und Glas. Köln: Böhlau, 1999.
BROECKE, Lara (transl.) – Cennino Cennini’s Il Libro Dell’arte. London: Archetype Publications, 2015.
MS AM 194.8° in the Arnamagnæan Institute, University of Copenhagen.
MS AM 685 d 4to in the Arnamagnæan Institute, University of Copenhagen.
Fontes impressas
BLINDHEIM, Martin – “Scandinavian Art and Its Relations to European Art around 1200”. in The Year 1200: A Symposium. New York:The Metropolitan Museum of Art, 1975, pp. 429-468.
BLINDHEIM, Martin – Painted Wooden Sculpture in Norway c. 1100-1250, Medieval Art in Norway. Oslo: Scandinavian University Press, 1998.
BLINDHEIM, Martin – Gothic Painted Wooden Sculpture in Norway 1220-1350. Oslo: Messel forlag, 2004.
BOSSELMANN-RUICKBIE, Antje – “Contact between Byzantium and the West from the 9th to the 15th Century: Reflections in Goldsmiths’ Works and Enamels.” in DAIM, Falko; HEHER, Dominik; RAPP, Claudia (ed.) – Menschen, Bilder, Sprache, Dinge Wege der Kommunikation zwischen Byzanz und dem Westen 1: Bilder und Dinge. Studien zur Ausstellung ‘Byzanz & der Westen. 1000 vergessene Jahre’. Mainz: Verlag des Römisch-Germanischen Zentralmuseums, 2018, pp. 73-104.
BRACHERT, Thomas – “Fassung von Bildwerken: Geschichte”. in Reallexicon zur deutschen Kunstgeschichte, vol. 7. München: Beck, 1981, pp. 793-798.
BYNUM, Caroline Walker – Christian Materiality: An Essay on Religion in Late Medieval Europe. New York: Zone Books, 2011.
EKROLL, Øystein – “Erkebiskop Eystein, Oktogonen i Kristkyrkja og Kristi Gravkyrkja i Jerusalem”. in BJØRLYKKE, Kristin et alii (ed.) – Eystein Erlendsson – Erkebiskop, politiker og kirkebygger. Trondheim: Nidaros domkirkes restaureringsarbeiders forlag, 2012.
ELKINS, James – “On Some Limits of Materiality in Art History,” in NEUNER, Stefan; GELSHORN, Julia (ed.) – Taktilität: Sinneserfahrung als Grenzerfahrung. Das Magazin des Instituts für Theorie 12, 2008, pp. 25-30.
ENDEMANN, Klaus – “Zur Holzskulptur Des Frühen Mittelalters. Voraussetzungen und Funktion – Schnitztechnik und Fassung”, Zeitschrift für Kunsttechnologie und Konservierung 26/1, 2012, pp. 400-434.
FRØYSAKER, Tine – “Den middelalderske Kristusfiguren fra Otterøy kirke, Namsos kommune i Nord-Trøndelag. Et konserveringsprosjekt”. NIKU Oppdragsmelding 023, Oslo, 1996.
FRØYSAKER, Tine; KOLLANDSRUD, Kaja – “The Calvary Group in Urnes Stave Church, Norway: A Technological Examination”. in NADOLNY, Jilleen (ed.) – Medieval Painting in Northern Europe: Techniques, Analysis, Art History. London: Archetype, 2006, pp. 43-58.
GARIPZANOV, Ildar – “Wandering Clerics and Mixed Rituals in the Early Christian North, c. 1000-1150”. The Journal of Ecclesiastical History 63/1, 2012, pp. 1-17.
GJERTSEN, Randi – “Den korsfestede Kristus fra Skafså Kirke, Tokke Kommune i Telemark. Undersøkelser og konservering”. NIKU publikasjoner 123, 2002, pp. 1-34.
HAASTRUP, Ulla – “Byzantisk klædte ærkeengle i danske fresker: Kombinationen af ærkeengle med Majestas Domini i 1. halvdel af 1100-tallet”, Nordic Review of Iconography 1, 2014, pp. 6-36.
HALLDÓRSSON, Ólafur – “Líkneskjusmið”, Árbók hins íslenzka fornleifafélags 1973, 1974, pp. 5-17.
HARVEY, Joshua; KOLLANDSRUD, Kaja; SMITHSON, Hannah – “Not all that Glitters: Probing Material Perception with a Physical Imitation-gold Stimulus”, AVA Christmas Meeting, Queen Mary University of London, December 18, 2017, Perception 47, 2018.
HOHLER, Erla B.; MORGAN, Nigel J.; WICHSTRØM, Anne – Painted Altar Frontals of Norway, 1250-1350. vol. 1: Artists, Styles and Iconographye. London: Archetype Publications, 2004.
JÄGER, Elisabeth – “Zur Polychromie der Kölner Skulptur vom 12.- Bis zum Ende des 14. Jahrhunderts”. in BERGMANN, U. (ed.) – Schnütgen-Museum. Holzskulpturen des Mittelalters, (1000-1400). Köln: Schnütgen-Museum, 1989, pp. 99-104.
KALAND, Bjørn – “Baldakin Fra Hopperstad – Madonna Fra Hove”, Foreningen til
New research findings on 11th-early 13th-century polychrome wood sculpture at the Royal Institute for Cultural Heritage, Brussels
No full text11th- to early 13th-century medieval polychrome sculptures can be considered as ancestral testimony of knowledge, practices, and the exchange of carving and painting techniques in the Middle Ages. This paper aims to provide an analysis of 50 years of research in Belgium, including recent case studies. New material elements and analysis results will likely resuscitate the debate on the relative chronology that is usually suggested. The identification of materials reveals the circulation of goods and trade. The richness of pictorial effects and techniques demonstrates a knowhow long considered as typical of the late Gothic period, including the use of oil in the binding media. Most of the information collected in the Belgian corpus matches the results of analyses carried out on sculptures from other European regions, both in terms of the evolution of their appearance and of their techniques. These observations make it possible to put forward the hypothesis of a fast and oral transmission not only within local workshops but in the broader European global context.
Bibliography
BALLESTREM, Agnès; PUISSANT, Martine – “La croix triomphale de l’église Saint-Denis à Forest”. Bulletin de l’Institut royal du Patrimoine Artistique 13 (1971-1972), pp. 53-76.
BERTONI, Nadia; CREN, Stéphane – “Un liant huileux sur une sculpture du Moyen Âge. La polychromie du crucifix de la cathédrale de Trieste”. in GOUPY, Jacques; MOHEN, Jean-Pierre (ed.) – Art et chimie, la couleur (Actes du congrès, Paris, Centre national de la Recherche scientifique, 16-18 sept. 1998). Paris: CNRS ed, 2000, pp. 102-104.
BLINDHEIM, Martin – Main trends of East-Norwegian wooden figure sculpture in the second half of the thirteenth century. Oslo: Dybwad, 1952, pp. 87-111.
BLINDHEIM, Martin – Painted Wooden Sculpture in Norway, c. 1100-1250. Oslo: Scandinavian University Press, 1998.
CASCIO, Agnès; DESCHAMPS-TAN, Stéphanie; LE POGAM, Pierre-Yves – “La restauration du Christ Courajod: la luminosité d’une polychromie romane retrouvée”. Techné 39 (2014), pp. 53-59.
CASTIŇERAS, Manuel – “L’étude des panneaux peints en catalogne: artiste, apprentissage et techniques”. in MALLET, Géraldine; LETURQUE, Anne (dir.) – Arts picturaux en territoires catalans (xiie-xive siècle). Approches matérielles, techniques et comparatives, (Actes des journées d’études), programme Factura, Université Montpellier 3 – Centre d’Études Médiévales de Montpellier, 11 octobre 2012, Montpellier: Presses universitaires de la Méditerranée, 2015, p. 21
CLARK, Marc – Medieval Painter’s Materials and Technique – The Montpellier Liber diversarum arcium. London: Archetype Publications, p. 87.
CLAUSSEN, Hilde – “Grosse Goldene Madonna. Restaurierung und Untersucchungsergebnisse”. Kirchenkunst des Mittelalters. Erhalten und erforschen, Catalogue du Musée diocésain d’Hildesheim, 1989, pp. 58-59
DE BOCHGRAVE D’ALTENA, Joseph – “Madones en Majesté, à propos de Notre-Dame d’Eprave”. Revue belge d’Archéologie et d’Histoire de l’art 30 (1961), pp. 71-72, fig. 57.
DE LESPINASSE, R.; DE BONNARDOT, F. – Les métiers et corporations de la ville de paris, xiiie s., le livre de métiers d’etienne boileau, Paris, 1879, paragraph IX of the chapter concerning the wood cutters of Paris.
DE MÉRINDOL, Christian – “Signes de hiérarchie sociale à la fin du Moyen Âge d’après le vêtement, méthodes et recherches”. Le Vêtement. Histoire, Archéologie et Symbolique vestimentaires au Moyen Âge, Paris: Les Cahiers du Léopard d’or, 1, 1989, pp. 181-222.
DIDIER, Robert – “La Sculpture mosane du xie au milieu du xiiie siècle”. in Rhein und Maas, Kunst und Kultur, 800-1400. 2. Berichte, Beiträge und Forschungen zum Themenkreis der Ausstellung und des Katalogs. Cologne, 1973, pp. 407-424.
DIDIER, Robert – “Une Vierge ottonienne et son revers du XIIIe siècle”. Bulletin de l’Institut royal du Patrimoine Artistique 25 (1993), pp. 74-78 and p. 27.
ENDEMANN, Klaus – “Spurensicherung, Voraussetzung und notwendige Ergänzung Kunstwissenschaftlicher Analysen. Zum Kruzifixus des ehemaligen Prämonstratenser-Klosters in Cappenberg”. Unter der Lupe, Neue Forschungen zu Skulptur und malerei des Hoch-und-Spätmittelalters (2000), pp. 11-35.
ENDEMANN, Klaus – “Zur Holzskulptur des frühen Mittelalters. Voraussetzungen und Funktion-Schnitztechnik und Fassung”. Zeitschrift für Kunsttechnologie und Konservierung Bd 26 (2012, Heft 2), pp. 406-407.
FRØYSAKER, Tine; KOLLANDSRUD, Kaja, – “The Calvary group in Urnes Stave church, Norway: A technological examination”. in NADOLNY Jilleen (ed.), Medieval Painting in Northern Europe: techniques, analysis, art history. London: Archetype publications, 2006, pp. 43-58
GHISLAIN, Jean-Claude – “La sculpture romane”. in KUPPER, Jean-Louis; GEORGES, Philippe (ed.) – Liège autour de l’an mil, la Naissance d’une principauté (Xe-XIIe siècle). Liège: Editions du Perron, 2000, pp. 133-138.
GHISLAIN, Jean-Claude; MERCIER, Emmanuelle – La Vierge en Majesté romane de Seron. Namur: Guide du visiteur du Musée des Arts anciens du Namurois, 19, 2013.
HOWARD, Helen – Pigments of English Medieval Wall Painting. London: Archetype publications, 2003.
JÄGERS, Elisabeth – “Zur Polychromie der Kölner Skulptur vom 12. bis zum Ende des 14”. in BERGMANN, Ulrike (ed.) – Schnütgen-Museum. Die Holzskulpturen des Mittelalters (1000-1400). Cologne: Druckerei Locher, 1989, pp. 85-106.
KARGÈRE, Lucretia – “The Use of Lapis Lazuli as a Pigment in Medieval Europe”. MET Objectives 4 (2003), pp. 5-7
KARGÈRE, Lucretia; RIZZO, Andrea – “Twelfth-Century French Polychrom Sculpture in The Metropolitan Museum of Art: Materials and Techniques”. Metropolitan Museum Studies in Art, Science, and technology 1 (2010), pp. 39-72.
KOECHLIN, Raymond –“La statuaire belge et les influences françaises aux XIIIe et XIVe siècles”. Gazette des Beaux-Arts t. II (1903), pp. 5-19, p. 8.
KOLLANDSRUD, Kaja – “Vasaris theory of the origins of oil paintings and its influence on cleaning methods: the ruined polychromy of the early thirteenth century Crucifix from Haug, Norway”. LINDLEY, Philippe (ed.), Sculpture Conservation: preservation or interference?. Brookfield: Scholar Press, 1997, pp. 139-149.
KOLLANDSRUD, Kaja – “Technical mapping of Norwegian polychrome wooden sculpture, 1100-1350: A preliminary overview”. Oslo University museum of cultural Heritage, occasional papers vol. 1 (2002), pp. 125-141.
LE POGAM, Pierre-Yves – “La polychromie de la sculpture française au XIIe-XIIIe siècle, une esquisse”. La polychromie des sculptures françaises au Moyen Âge, Techné 39 (2014), pp. 43-51
MERCIER, Emmanuelle – “La Croix triomphale de l’église Saint-Brice à Hollogne-sur-Geer, notes d’histoire de l’art et remise en contexte”. Bulletin de l’Institut royal du Patrimoine Artistique 31 (2004-2005), 2007, pp. 39-54.
MERCIER, Emmanuelle – “Le Saint Jean au Calvaire du Musée communal de Huy”. Annales du cercle hutois des Sciences et Beaux-Arts 58 (2006-2007), pp. 35-68.
MERCIER, Emmanuelle – “Le Saint Éloi et le Saint Laurent de Hour dans le contexte de la sculpture mosane du xiiie siècle”. Bulletin de l’Institut royal du Patrimoine Artistique 32 (2006-2008), pp. 131-143.
MERCIER, Emmanuelle – La polychromie de la sculpture mosane en bois du XIIIe siècle. Liège: Université de Liège, 2008. PHD Thesis.
MERCIER, Emmanuelle – “The Artisan Carver’s Materials and Practices: Studying 13th and 14th Century Mosan Sculptures”. in SEYMOUR Kate (ed.) – Polychrome Sculpture: Tool Marks and Construction Techniques, ICOM-CC Interim Meeting, Working Group Sculpture, Polychromy, and Architectural Decoration, Maastricht, 24-25 oct. 2010, 2014, pp.14-26. http://www.icom-cc.org/ul/cms/fck-uploaded/docume nts/Polychrome%20Sculpture%20Papers%202010-2013/POLYCHROME%20SCULP TURE%20Vol%201%20Maastricht.pdf. Accessed 28.11.2018
MERCIER, Emmanuelle – “La polychromie de la Sedes Sapientiae de l’église Saint-Jean-l’Evangéliste à Liège: phénomène de transferts artistiques Est-Ouest au début du XIIIe siècle?”. in MALLET, Géraldine; LETURQUE, Anne (dir.) – Arts picturaux en territoires catalans (xiie-xive siècle). Approches matérielles, techniques et comparatives, (Actes des journées d’études), programme Factura, Université Montpellier 3 – Centre d’Études Médiévales de Montpellier, 11 octobre 2012, Montpellier: Presses universitaires de la Méditerranée, 2015, pp. 125-145.
MERCIER, Emmanuelle – “La Sedes Sapientiae de la Cathédrale Saint-Paul à Liège”. Bloc-Notes 33, revue trimestrielle du Trésor de la cathédrale de Liège (décembre 2012), pp. 8-16, http://en.calameo.com/read/001942648b81b54b34d14
MERCIER, Emmanuelle – “La polychromie de la sculpture mosane entre les xiie et xive s. Couleurs, techniques et expressions en rapport avec l’évolution des formes et les pratiques cultuelles dans le diocèse de Liège”. Bulletin de l’Institut royal du Patrimoine Artistique 34 (2013-2015), pp. 41-76.
MERCIER, Emmanuelle – “De Zwarte Madonna van Halle en haar polychromieën”. in HOUSSIAU, Albert; MERCIER, Emmanuelle; DE CLERCQ, Camille – Onze-lieve-vrouw van Halle, Een beeldrijke geschiedenis.Halle: Koninklijke Geschied- en Oudheidkundige Kring van Halle, 2015, pp. 118-130.
MERCIER, Emmanuelle – “Brussels-Copenhagen (1967-2017): A story of the history of polychrome sculpture”. in ICOM-CC 18th Triennial Conference Preprints, Copenhagen, 4-8 September 2017, ed. J. Bridgland, art. 1705. Paris: International Council of Museums, 2017, p. 5. https://www.icom-cc-publications-online.org/Public ationDetail.aspx?cid=7a872740-7488-4c80-a349-f8767deb256f.Accessed 28.11.2018
MERCIER, Emmanuelle; SANYOVA, Jana – “Art et techniques de la polychromie romane sur bois dans l’Europe du Nord”. Les Cahiers de Saint-Michel de Cuxa, Actes des xliiie journées romanes de Cuxa, 2012, pp. 125-133.
MERCIER, Emmanuelle; SANYOVA, Jana – “A polychrome sculpture from the beginning of the xiiith century in Royal Museum of Art and History in Brussels: materials and techniques”. in STREETON Noëlle L. W.; KOLLANDSRUD, Kaja (ed.) – Paint and piety: collected essays on medieval painting and polychrome sculpture. Londres: Archetype Publications, 2014, pp. 77-91.
NEYSES, Mechthild – “Dendrochronologische Untersuchungen an Holzskulpturen des Schnütgen-Museum”. in BERGMANN, Ulrike (ed.) – Schnütgen-Museum. Die Holzskulpturen des Mittelalters (1000-1400). Cologne: Druckerei Locher, 1989, pp. 107-112.
PEEZ, Marc – “Gerresheimer Kruzifix. Neue Ergebnisse zur Werktechnik einer ottonischen Monumentalplastik”. in Denkmal-Kultur im Rheinland. Festischrift fuer Udo Mainzer zum 65. Geburtstag; Arbeitsheft der rheinischen Denkmalpflege Worms, Wernersche 75 (2010), pp. 117-127.
PETRUS DE SANCTO AUDEMARO, no. 168 “Comment l’azur est purifié et préparé”, in MERRIFIELD, Mary P. – Medieval and Renaissance Treatises on the Arts of Painting, 2 vols. New York: Dover Publications, 1967, p. 134.
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PLAHTER, Unn – “Norwegian art technology in the twelfth and thirteenth centuries”. Zeischrift für Kunstechnologie und Konservierung” – Bd. 28, 2014, heft 2., pp. 298-332.
PLAHTER, Unn; NORSENG, Per G. – “The trade in painters’ materials in Norway in the Middle Ages trade”. in KIRBY, Jo; NASH, Susie; CANNON, Joanna (ed.) – Trade in Artists’ Materials, Market and Commerce in Europe to 1700. London: Archetype Publications, 2010, pp. 50-73.
SERCK-DEWAIDE, Myriam; VERFAILLE, Simone – “Le Vieux Bon Dieu de Tancrémont. Histoire et traitement”. Bulletin de l’Institut royal du Patrimoine Artistique 23 (1990-1991), pp. 80-100.
SERCK-DEWAIDE, Myriam – “Les Sedes Sapientiæ romanes de Bertem et d’Hermalle-sous-Huy. Étude des polychromies successives”. Bulletin de l’Institut royal du Patrimoine Artistique 16 (1976-1977), pp. 56-74.
SERCK-DEWAIDE, Myriam – “N-D de Walcourt. La statue en bois polychrome”, Bulletin de l’Institut royal du Patrimoine Artistique 25 (1993), pp. 45-47.
SCHULZE-SENGER, Christa, et alii – “Das Gero-Kreuz im Kölner Dom”. Kölner Domblatt, Jahrbuch des Zentral-Dombauvereins 41 (1976), pp. 9-56.
SPUFFORD, Peter – “Lapis, Indigo, Woad: Artists’ materials in the Context of International trade before 1700”. in KIRBY, Jo; NASH, Susie; CANNON, Joanna (ed.) – Trade in Artists’ Materials, Market and Commerce in Europe to 1700. London: Archetype Publications, 2010, pp. 10-25.
TÅNGEBERG, Peter – Mittelalterliche Holzskulpturen und Altarschreine in Schweden. Studien zu Form, Material und Technik, (Mittelalterliche Plastik in Schweden). Stockholm: Kunglica Vitterhets Historie och Antikvitets Akademien, 1986.
TÅNGEBERG, Peter; PLAHTER, Unn – “The Crucifix from Hemse”. in NADOLNY Jilleen. (ed.) – Medieval painting in Northern Europe: Techniques, Analysis, Art History. London: Archetype Publications, 2006, pp. 1-19.
TAUBERT, Johannes – Polychrome Sculpture, Meaning, Form, Conservation, (MARINCOLA, Michele. D. (ed.)). Los Angeles: The Getty Conservation Institute, 2015.
VAN HAUWERMEIREN, Corinne – Réévaluation de la chronologie de la statuaire mariale des Pyrénées-Orientales (France). Études technique et stylistique des Vierges à l'Enfant romanes et gothiques. Namur: Université de Namur, 2014, PHD Thesis.As esculturas policromadas dos séculos XI-início de XIII podem ser consideradas um testemunho ancestral de conhecimento, de práticas bem como das trocas de técnicas de escultura e pintura na Idade Média. O presente artigo visa prover uma análise de 50 anos de pesquisa na Bélgica, incluindo também recentes estudos. Elementos materiais novos e os resultados de análises irão provavelmente relançar o debate sobre a cronologia relativa que por norma se sugere. A identificação de materiais revela a circulação de bens e comércio. A riqueza de efeitos pictóricos e técnicas demonstra um savoir-faire considerado até então como típico do período gótico recente, inclusive o uso de óleo como aglutinante. A maioria da informação reunida no corpus belga corresponde aos resultados de análises realizadas em esculturas de outras regiões europeias, tanto em termos de evolução de aspectos como de evolução técnica. Estas observações permitem avançar a hipótese de uma transmissão rápida e oral não só dentro das oficinas mas no contexto global europeu mais vasto.
Referências bibliográficas
BALLESTREM, Agnès; PUISSANT, Martine – “La croix triomphale de l’église Saint-Denis à Forest”. Bulletin de l’Institut royal du Patrimoine Artistique 13 (1971-1972), pp. 53-76.
BERTONI, Nadia; CREN, Stéphane – “Un liant huileux sur une sculpture du Moyen Âge. La polychromie du crucifix de la cathédrale de Trieste”. in GOUPY, Jacques; MOHEN, Jean-Pierre (ed.) – Art et chimie, la couleur (Actes du congrès, Paris, Centre national de la Recherche scientifique, 16-18 sept. 1998). Paris: CNRS ed, 2000, pp. 102-104.
BLINDHEIM, Martin – Main trends of East-Norwegian wooden figure sculpture in the second half of the thirteenth century. Oslo: Dybwad, 1952, pp. 87-111.
BLINDHEIM, Martin – Painted Wooden Sculpture in Norway, c. 1100-1250. Oslo: Scandinavian University Press, 1998.
CASCIO, Agnès; DESCHAMPS-TAN, Stéphanie; LE POGAM, Pierre-Yves – “La restauration du Christ Courajod: la luminosité d’une polychromie romane retrouvée”. Techné 39 (2014), pp. 53-59.
CASTIŇERAS, Manuel – “L’étude des panneaux peints en catalogne: artiste, apprentissage et techniques”. in MALLET, Géraldine; LETURQUE, Anne (dir.) – Arts picturaux en territoires catalans (xiie-xive siècle). Approches matérielles, techniques et comparatives, (Actes des journées d’études), programme Factura, Université Montpellier 3 – Centre d’Études Médiévales de Montpellier, 11 octobre 2012, Montpellier: Presses universitaires de la Méditerranée, 2015, p. 21
CLARK, Marc – Medieval Painter’s Materials and Technique – The Montpellier Liber diversarum arcium. London: Archetype Publications, p. 87.
CLAUSSEN, Hilde – “Grosse Goldene Madonna. Restaurierung und Untersucchungsergebnisse”. Kirchenkunst des Mittelalters. Erhalten und erforschen, Catalogue du Musée diocésain d’Hildesheim, 1989, pp. 58-59
DE BOCHGRAVE D’ALTENA, Joseph – “Madones en Majesté, à propos de Notre-Dame d’Eprave”. Revue belge d’Archéologie et d’Histoire de l’art 30 (1961), pp. 71-72, fig. 57.
DE LESPINASSE, R.; DE BONNARDOT, F. – Les métiers et corporations de la ville de paris, xiiie s., le livre de métiers d’etienne boileau, Paris, 1879, paragraph IX of the chapter concerning the wood cutters of Paris.
DE MÉRINDOL, Christian – “Signes de hiérarchie sociale à la fin du Moyen Âge d’après le vêtement, méthodes et recherches”. Le Vêtement. Histoire, Archéologie et Symbolique vestimentaires au Moyen Âge, Paris: Les Cahiers du Léopard d’or, 1, 1989, pp. 181-222.
DIDIER, Robert – “La Sculpture mosane du xie au milieu du xiiie siècle”. in Rhein und Maas, Kunst und Kultur, 800-1400. 2. Berichte, Beiträge und Forschungen zum Themenkreis der Ausstellung und des Katalogs. Cologne, 1973, pp. 407-424.
DIDIER, Robert – “Une Vierge ottonienne et son revers du XIIIe siècle”. Bulletin de l’Institut royal du Patrimoine Artistique 25 (1993), pp. 74-78 and p. 27.
ENDEMANN, Klaus – “Spurensicherung, Voraussetzung und notwendige Ergänzung Kunstwissenschaftlicher Analysen. Zum Kruzifixus des ehemaligen Prämonstratenser-Klosters in Cappenberg”. Unter der Lupe, Neue Forschungen zu Skulptur und malerei des Hoch-und-Spätmittelalters (2000), pp. 11-35.
ENDEMANN, Klaus – “Zur Holzskulptur des frühen Mittelalters. Voraussetzungen und Funktion-Schnitztechnik und Fassung”. Zeitschrift für Kunsttechnologie und Konservierung Bd 26 (2012, Heft 2), pp. 406-407.
FRØYSAKER, Tine; KOLLANDSRUD, Kaja, – “The Calvary group in Urnes Stave church, Norway: A technological examination”. in NADOLNY Jilleen (ed.), Medieval Painting in Northern Europe: techniques, analysis, art history. London: Archetype publications, 2006, pp. 43-58
GHISLAIN, Jean-Claude – “La sculpture romane”. in KUPPER, Jean-Louis; GEORGES, Philippe (ed.) – Liège autour de l’an mil, la Naissance d’une principauté (Xe-XIIe siècle). Liège: Editions du Perron, 2000, pp. 133-138.
GHISLAIN, Jean-Claude; MERCIER, Emmanuelle – La Vierge en Majesté romane de Seron. Namur: Guide du visiteur du Musée des Arts anciens du Namurois, 19, 2013.
HOWARD, Helen – Pigments of English Medieval Wall Painting. London: Archetype publications, 2003.
JÄGERS, Elisabeth – “Zur Polychromie der Kölner Skulptur vom 12. bis zum Ende des 14”. in BERGMANN, Ulrike (ed.) – Schnütgen-Museum. Die Holzskulpturen des Mittelalters (1000-1400). Cologne: Druckerei Locher, 1989, pp. 85-106.
KARGÈRE, Lucretia – “The Use of Lapis Lazuli as a Pigment in Medieval Europe”. MET Objectives 4 (2003), pp. 5-7
KARGÈRE, Lucretia; RIZZO, Andrea – “Twelfth-Century French Polychrom Sculpture in The Metropolitan Museum of Art: Materials and Techniques”. Metropolitan Museum Studies in Art, Science, and technology 1 (2010), pp. 39-72.
KOECHLIN, Raymond –“La statuaire belge et les influences françaises aux XIIIe et XIVe siècles”. Gazette des Beaux-Arts t. II (1903), pp. 5-19, p. 8.
KOLLANDSRUD, Kaja – “Vasaris theory of the origins of oil paintings and its influence on cleaning methods: the ruined polychromy of the early thirteenth century Crucifix from Haug, Norway”. LINDLEY, Philippe (ed.), Sculpture Conservation: preservation or interference?. Brookfield: Scholar Press, 1997, pp. 139-149.
KOLLANDSRUD, Kaja – “Technical mapping of Norwegian polychrome wooden sculpture, 1100-1350: A preliminary overview”. Oslo University museum of cultural Heritage, occasional papers vol. 1 (2002), pp. 125-141.
LE POGAM, Pierre-Yves – “La polychromie de la sculpture française au XIIe-XIIIe siècle, une esquisse”. La polychromie des sculptures françaises au Moyen Âge, Techné 39 (2014), pp. 43-51
MERCIER, Emmanuelle – “La Croix triomphale de l’église Saint-Brice à Hollogne-sur-Geer, notes d’histoire de l’art et remise en contexte”. Bulletin de l’Institut royal du Patrimoine Artistique 31 (2004-2005), 2007, pp. 39-54.
MERCIER, Emmanuelle – “Le Saint Jean au Calvaire du Musée communal de Huy”. Annales du cercle hutois des Sciences et Beaux-Arts 58 (2006-2007), pp. 35-68.
MERCIER, Emmanuelle – “Le Saint Éloi et le Saint Laurent de Hour dans le contexte de la sculpture mosane du xiiie siècle”. Bulletin de l’Institut royal du Patrimoine Artistique 32 (2006-2008), pp. 131-143.
MERCIER, Emmanuelle – La polychromie de la sculpture mosane en bois du XIIIe siècle. Liège: Université de Liège, 2008. PHD Thesis.
MERCIER, Emmanuelle – “The Artisan Carver’s Materials and Practices: Studying 13th and 14th Century Mosan Sculptures”. in SEYMOUR Kate (ed.) – Polychrome Sculpture: Tool Marks and Construction Techniques, ICOM-CC Interim Meeting, Working Group Sculpture, Polychromy, and Architectural Decoration, Maastricht, 24-25 oct. 2010, 2014, pp.14-26. http://www.icom-cc.org/ul/cms/fck-uploaded/docume nts/Polychrome%20Sculpture%20Papers%202010-2013/POLYCHROME%20SCULP TURE%20Vol%201%20Maastricht.pdf. Accessed 28.11.2018
MERCIER, Emmanuelle – “La polychromie de la Sedes Sapientiae de l’église Sain
Workshop Investigar em Idade Média VI - Projetos de Investigação: realidades e possibilidades, organizado em parceria pelo Instituto de Estudos Medievais e pelo CITCEM, Lisboa, NOVA FCSH
No full textOs workshops “Investigar em Idade Média”, promovidos em parceria pelo IEM e pelo CITCEM desde 2012, pretendem constituir um espaço privilegiado de debate em torno do desenvolvimento, dos desafios e dos condicionalismos evidenciados pelas disciplinas associadas aos Estudos Medievais. Orientados de forma consciente para o diálogo interdisciplinar, um dos seus focos principais tem sido a apresentação de projetos e percursos de investigação, com perspetivas e metodologias diferenciadas, mais inovadoras ou já consolidadas, relativas à História, Arte, História da Arte, Literatura, Paleografia, Epigrafia, Arqueologia, Filosofia e Música medievais. Estes workshops permanecem, de igual modo, uma ágora destinada à partilha de experiências relativas ao “ser medievalista”, nomeadamente por investigadores de pós-doutoramento que aí podem apresentar os seus trabalhos, discutir os rumos tomados e as contingências pessoais e institucionais ligadas à sua atividade
Delectare ed prodesse: aventuras, placeres y didactismo en el Conte du Papegau
No full textWhen the fate of the legendary King Arthur was finally sealed, an anonymous author composed a story of his early years as sovereign. This was the first attempt – preserved up to the present – that aimed to show retrospectively Arthur’s knightly talent when facing exceptional opponents. Through the analysis of some textual marks, in this article we aim to demonstrate that the Conte du Papegau was intended for a young audience. Besides it had the purpose of providing education in the chivalrous and moral qualities expected and necessary for the youth belonging to the nobility.Cuando el destino final del legendario rey Arturo estaba definitivamente sellado, un autor anónimo compuso un relato de sus mocedades. Primer intento conservado hasta el presente de ofrecer al anciano soberano ejemplar de la fabulosa Bretaña una posibilidad de demostrar, retrospectivamente, su talento caballeresco frente a oponentes excepcionales. En este trabajo, se intentara demostrar, mediante el análisis de algunas marcas textuales, que el Conte du Papegau está destinado a un público juvenil y tiene como finalidad educarlos en las cualidades caballerescas y morales necesarias para todo joven de lanobleza