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G. Boto Varela, M. Serrano Coll, J. McNeill
Late Romanesque Sculpture in European Cathedrals
Contexts and Narratives

approx. 300 p., 156 b/w ill. + 15 colour ill., 4 b/w tables, 210 x 297 mm
ISBN: 978-2-503-57448-6
Languages: English
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For decades specialists in the history of Romanesque art questioned the usefulness of traditional stylistic terminology. It has been regarded as being of limited relevance insofar as it fails to reflect the complexity and plurality of the times and events that it refers to. Neither is it useful for alluding to the functional, formal or iconographic specificities circumscribed within a given time period because, in reality, the visual features and statements under scrutiny flourished across two or more stylistic periods. Despite these deficiencies and limitations, we still have no better way of referring to the art of the period other than a lengthy phrase which is often made yet more cumbersome by the addition of a geographical or political term.

Of the various media that were used for and made possible these artistic innovations, particular attention has been paid to stained glass, miniatures or enamel. Nevertheless, monumental sculpture underwent certain developments that were comparable to the aforementioned media but also other changes that were completely distinct from them. As a result, because “late Romanesque sculpture” covers a period extending from 1150 to 1220, it is still impossible to state with any certainty what this complex network represented.

We propose a panoramic scientific analysis of a singular artistic landscape, focused on the intersections and challenges posed by this central issue in medieval European artistic production. To narrow down this field of study, this book will focus preferentially on the innovations and solutions adopted in the cathedral workshops of Atlantic, Continental and Mediterranean Europe.

Gerardo Boto Varela is professor of Medieval art at the Universitat de Girona (Spain), leader of the international research group Templa, and scientic editor of the journal "Codex Aquilarensis. Revista de Arte Medieval". His research concentrates on spatial, pictorial, and liturgical aspects of Spanish ecclesiastical architecture from the tenth to thirteenth cen- turies, as well as on dynastic tombs and memorial culture in Medieval Iberia.

Marta Serrano Coll teaches art history at the Universitat Rovira i Virgili in Tarragona (Spain) and specializes in Medieval architecture and sculpture, particularly in Catalonia. Her research interests include the display of power through artworks and royal patronage in the Iberian Peninsula during the Middle Ages. In addition, she has published in the eld of Romanesque sculpture and hagiographical studies.
Table of Contents

Preamble (Gerardo BOTO and Marta SERRANO)
Introduction: "Late Romanesque in perspective" (Herbert KESSLER) 

I. SHAPING LATE ROMANESQUE SCULPTURE. BALANCE AND PERSPECTIVES

1. Xavier BARRAL i ALTET (Università Ca Foscari - Venezia): What is actualy the named Late Romanesque Sculpture
2. Gerardo BOTO VARELA (Universitat de Girona): Advancing beyond "1200 Style": Past and Present of a philological aproach. 

II. LATE ROMANESQUE SCULPTURE IN EUROPE CATHEDRALS

3. Marcello ANGHEBEN (CESCM - Université de Poitiers): Iconographic programmes and artistic experiences in Avallon and Chartres in the mid-12th century.
4. Quitterie CAZES (Université Toulouse Jean Jaurès): Monumental sculpture in the cathedrals and cathedral quarters of the Toulouse region around 1200.
5. Juan Antonio OLAÑETA (Universitat de Barcelona): Provenance and interpretation of a decontextualized capital in the Church of Saint Trophime in Arles.
6. Claudia RÜCKERT (Kunstgutreferentin der Evangelischen Kirche Berlin-Brandenburg –schlesische Oberlausitz): Monumental sculpture in Germany circa 1200: New and old perspectives.
7. Elisabetta SCIROCCO (Kunsthistorisches Institut in Florenz-Biblioteca Herziana di Roma): Sculpture in liturgical spaces in southern Italy in the 11th-13th centuries.
8. Stephanie LUTHER (Deutsches Forum für Kunstgeschichte - Paris): Very Late Romanesque in the Holy Roman Empire: Sources for Sculpture in Alsace and Lower Saxony.
9. John McNEILL (University of Oxford – British Archaeological Association) Late Romanesque Sculpture in English Cathedrals: How far can the evidence take us? 

III. SCULPTURAL PROGRAMS IN THE CATHEDRALS OF IBERIAN KINGDOMS

10. Marta POZA YAGÜE (Universidad Complutense de Madrid): The accesion of Burgundian patterns at the end of the 12th century: the swansong of Romanesque sculpture in Castile?
11. Francisco PRADO-VILAR (Real Colegio Complutense - Harvard University). ‘Aula Sideria / Palace of Stars’: The Splendor of the Cathedral of Santiago at the Dawn of the 13th Century.
12. José Luis HERNANDO GARRIDO (UNED Zamora-TEMPLA) - Antonio LEDESMA (Universidad de Salamanca). ‘De la Eglesia de Sancta María de la Sey de Salamanca’. The prolongation or the end of late- Romanesque sculpture in the old kingdoms of León and Castile?
13. Carla VARELA FERNANDES - Paulo DE ALMEIDA FERNANDES (Instituto de Estudos Medievais – FCSH-UNL  -  Universidade de Coimbra): Elements of Romanesque resistance after 1200: the episcopal tombs and other examples of sculpture in Portuguese cathedrals.
14. César GARCÍA DE CASTRO VALDÉS (Museo Arqueológico de Asturias): The sculptural renovation of the Holy Chamber of the Cathedral of Oviedo in the context of the western Iberian late Romanesque.
15. Esther LOZANO LÓPEZ (UNED Tarragona): Images that transform spaces in the cathedrals of the Ebro: composition and mise-en-scène.
16. Gerardo BOTO VARELA (Universitat de Girona) and Marta SERRANO COLL (Universitat Rovira i Virgili): Shaping a new pictorial corporeity: the corbels of Tarragona Cathedral beyond the late Romanesque sculpture.     

Interest Classification:
Fine Arts & Performing Arts
Art History (general)
Medieval art history
Medieval & Renaissance History (c.400-1500)

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