Laura Chinellato, Arte longobarda in Friuli: l’ara di Ratchis a Cividale. La ricerca e la riscoperta delle policromie

Bien que l’objet de cette monographie, le cippe de l’autel de Ratchis conservé au Museo Cristiano de Cividale, soit d’une époque antérieure à celle habituellement traitée par les Cahiers de Civilisation Médiévale, le livre de L. Chinellato mérite d’être signalé aux lecteurs de notre revue. Les quatre plaques en pierre calcaire composant cette pièce sont sculptées en relief et elles nous livrent le plus ancien exemple connu d’un autel décoré de thèmes chrétiens sur ses quatre faces. Son progra..

Przed dziełem sztuki. Wspomnienia ze studiów

The present essay includes the author’s memories of his university studies and the intellectual formation that he received as a student of art history at the University of Poznań in 1949-1954. His first professor who opened to him the door to art history and exerted on him a strong intellectual influence, was Szczęsny Dettloff, a disciple of Heinrich Wölfflin in Munich and Max Dvořák in Vienna. Dettloff taught his students that the foundation of studying art in history is the study of the form of an individual artwork He believed that without a proper analysis of form it is impossible to construct appropriate series of the works of art and specify their position in the culture of the times of their origin. Similar sensitivity to form and the understanding of its significance for the art historian’s work were represented by two other professors important for the author, both educated by Dettloff already before World War II: Gwido Chmarzyński and Zdzisław Kępiński. When in 1957–1968 the author was a postgraduate student in the Centre d’Études Supérieures de Civilisation Médiévale at the University of Poitiers (CÉSCM), it turned out that the local methodological tradition was similar to what he had learned in Poznań before. The CÉSCM was founded as a multidisciplinary institute for the study of the Middle Ages, combining history, art history, literary history, and the history of ideas. It was important that one of them could shed light on an object studied by another, but each of them, including art history, kept its material and methodological identity. In the French tradition, art history had an “autonomous” status, focusing on artistic creation as a special sphere of human activity. That idea influenced also quite strongly the study of medieval architecture, originated in the early 19th century by Arcisse de Caumont, and continued until today by many generations of French scholars. What is characteristic of their research is meticulous analysis of form, articulated with a precise, detailed, and comprehensive specialist vocabulary. The lectures of French scholars on medieval architecture, which the author attended in Paris and Poitiers, taught him precision in the analysis of the artwork’s structure and its components, as well as responsibility for every single statement made on art. For a young art historian who did not specialize in architecture but in representational arts, that French experience was a lesson of methodological rigor necessary in the intellectual pursuits of the humanities scholar. </jats:p

Przed dziełem sztuki. Wspomnienia ze studiów

The present essay includes the author’s memories of his university studies and the intellectual formation that he received as a student of art history at the University of Poznań in 1949-1954. His first professor who opened to him the door to art history and exerted on him a strong intellectual influence, was Szczęsny Dettloff, a disciple of Heinrich Wölfflin in Munich and Max Dvořák in Vienna. Dettloff taught his students that the foundation of studying art in history is the study of the form of an individual artwork He believed that without a proper analysis of form it is impossible to construct appropriate series of the works of art and specify their position in the culture of the times of their origin. Similar sensitivity to form and the understanding of its significance for the art historian’s work were represented by two other professors important for the author, both educated by Dettloff already before World War II: Gwido Chmarzyński and Zdzisław Kępiński. When in 1957–1968 the author was a postgraduate student in the Centre d’Études Supérieures de Civilisation Médiévale at the University of Poitiers (CÉSCM), it turned out that the local methodological tradition was similar to what he had learned in Poznań before. The CÉSCM was founded as a multidisciplinary institute for the study of the Middle Ages, combining history, art history, literary history, and the history of ideas. It was important that one of them could shed light on an object studied by another, but each of them, including art history, kept its material and methodological identity. In the French tradition, art history had an “autonomous” status, focusing on artistic creation as a special sphere of human activity. That idea influenced also quite strongly the study of medieval architecture, originated in the early 19th century by Arcisse de Caumont, and continued until today by many generations of French scholars. What is characteristic of their research is meticulous analysis of form, articulated with a precise, detailed, and comprehensive specialist vocabulary. The lectures of French scholars on medieval architecture, which the author attended in Paris and Poitiers, taught him precision in the analysis of the artwork’s structure and its components, as well as responsibility for every single statement made on art. For a young art historian who did not specialize in architecture but in representational arts, that French experience was a lesson of methodological rigor necessary in the intellectual pursuits of the humanities scholar.

Facing the Work of Art. Memories of My Student Years

The present essay includes the author’s memories of his university studies and the intellectual formation that he received as a student of art history at the University of Poznań in 1949-1954. His first professor who opened to him the door to art history and exerted on him a strong intellectual influence, was Szczęsny Dettloff, a disciple of Heinrich Wölfflin in Munich and Max Dvořák in Vienna. Dettloff taught his students that the foundation of studying art in history is the study of the form of an individual artwork He believed that without a proper analysis of form it is impossible to construct appropriate series of the works of art and specify their position in the culture of the times of their origin. Similar sensitivity to form and the understanding of its significance for the art historian’s work were represented by two other professors important for the author, both educated by Dettloff already before World War II: Gwido Chmarzyński and Zdzisław Kępiński. When in 1957-1968 the author was a postgraduate student in the Centre d’Études Supérieures de Civilisation Médiévale at the University of Poitiers (CÉSCM), it turned out that the local methodological tradition was similar to what he had learned in Poznań before. The CÉSCM was founded as a multidisciplinary institute for the study of the Middle Ages, combining history, art history, literary history, and the history of ideas. It was important that one of them could shed light on an object studied by another, but each of them, including art history, kept its material and methodological identity. In the French tradition, art history had an “autonomous” status, focusing on artistic creation as a special sphere of human activity. That idea influenced also quite strongly the study of medieval architecture, originated in the early 19th century by Arcisse de Caumont, and continued until today by many generations of French scholars. What is characteristic of their research is meticulous analysis of form, articulated with a precise, detailed, and comprehensive specialist vocabulary. The lectures of French scholars on medieval architecture, which the author attended in Paris and Poitiers, taught him precision in the analysis of the artwork’s structure and its components, as well as responsibility for every single statement made on art. For a young art historian who did not specialize in architecture but in representational arts, that French experience was a lesson of methodological rigor necessary in the intellectual pursuits of the humanities scholar.</jats:p

Elisabeth Klemm. — Die romanischen Handschriften der Bayerischen Staatsbibliothek. I. Die Bistümer Regensburg, Passau und Salzburg, 1980, 2 vol. (" Katalog d. illumin. Handschr. d. Bayer. Staatsbibl. München. Roman. Handschr. " III/1)

Skubiszewski Piotr. Elisabeth Klemm. — Die romanischen Handschriften der Bayerischen Staatsbibliothek. I. Die Bistümer Regensburg, Passau und Salzburg, 1980, 2 vol. (" Katalog d. illumin. Handschr. d. Bayer. Staatsbibl. München. Roman. Handschr. " III/1). In: Cahiers de civilisation médiévale, 28e année (n°112), Octobre-décembre 1985. pp. 417-420

Ecclesia, Christianitas, Regnum et Sacerdotium dans l'art des Xe-XIe s. [Idées et structures des images]

Der Übergang von der karolingischen Ecclesiologie zur gregorianischen Auffassung der Kirche hat - zu einem großen Teil - der Entwicklung der kirchlich-politischen Ikonographie des 10. -11. Jahrhunderts die Richtung gegeben. Man kann sich diese Entwicklung hauptsächlich bei denjenigen Werken vor Augen führen, deren Ikonographie sich auf vier Grundbegriffe der politischen Théologie des Früh- und Hoch- Mittelalters gründet : die Ecclesia, die Christianitas, das Regnum und das Sacerdotium. Zehn Werke sind in diesem Zusammenhang untersucht worden : die Elfenbeinsitula im Aachener Domschatz, das Bildnis Heinrichs II. im Bamberger Pontificale (Lit. 53), die Darstellung der Kirche im Bamberger Hohelied- Kommentar (Bibl. 22), die Kaiser-Bilder im Aachener Liuthar-Evangeliar, im. sog. Evangeliar Ottos III. (clm 4453) und in der Bamberger Flavius Josephus-Handschrift (Class. 79), sowie die Miniaturen der Kirche in vier italienischen Exultet-Rollen (Vat. lat. 9820 ; Add. Ms. 30337 ; Barb. lat. 592 ; Monte Cassino, 2). Sowohl die Ikonographie der Einzeldarstellungen, die bestimmte Begriffe der politischen Theologie ausdrückt, als auch ihre Stellung in der Bildstruktur kann sehr unterschiedlich sein. Genau wie in der zeitgenössischen kirchlich-politischen Literatur, kann man in dieser Ikonographie eine Entwicklung von der Vorstellung, die dem Regnum und dem Sacerdotium den Platz innerhalb der Ecclesia zuwies, zu einer Lettre, die das Königtum aus den Angelegenheiten der Kirche verbannte und ihren pastoralen und liturgischen Aspekt betonte, verfolgen.Le passage de l'ecclésiologie carolingienne à la doctrine grégorienne de l'Église a orienté, pour une large part, l'évolution de l'iconographie politico-religieuse des Xe-XIe s. On peut retracer ce développement, notamment, dans les compositions dont l'iconographie se fonde sur quatre notions essentielles de la théologie politique : l'Ecclesia, la Christianitas, le Regnum et le Sacerdotium. Dix œuvres sont examinées à ce propos : une situla d'ivoire au Trésor d'Aix-la-Chapelle, l'image d'Henri II dans son Pontifical de Bamberg (Lit. 53), celle de l'Église dans un Commentaire du Cantique des cantiques (Bamberg également, Bibl. 22), les représentations de l'empereur dans l'Évangéliaire de Liuthar (Aix-la-Chapelle), dans un Flavius Josèphe de Bamberg (Class. 79) et dans l'Évangéliaire d'Otton III (clm 4453), ainsi que les miniatures de l'Église dans quatre Exultei italiens (Vat. lat. 9820 ; Add. Ms. 30337 ; Barb. lat. 592 ; Mont- Cassin, 2). Et la forme iconographique des figurations correspondant aux thèmes précis de la théologie politique et leur place dans la structure de l'image varient d'une œuvre à l'autre. Tout comme la littérature politico-religieuse contemporaine, cette iconographie évolue d'une conception, qui place le Regnum et le Sacerdotium à l'intérieur de l'Ecclesia, à une vision, qui relègue le Regnum à l'extérieur des affaires de l'Église proprement dite et rehausse l'aspect pastoral et liturgique de cette dernière.Skubiszewski Piotr. Ecclesia, Christianitas, Regnum et Sacerdotium dans l'art des Xe-XIe s. [Idées et structures des images]. In: Cahiers de civilisation médiévale, 28e année (n°110-111), Avril-septembre 1985. pp. 133-180

Notre revue : saisir une civilisation

Skubiszewski Piotr. Notre revue : saisir une civilisation. In: Cahiers de civilisation médiévale, 39e année (n°153-154), Janvier-juin 1996. La recherche sur le Moyen Age à l'aube du vingt-et-unième siècle, sous la direction de Piotr Skubiszewski. pp. 3-8

Jean-Pierre Caillet. — L'antiquité classique, le haut moyen âge et Byzance au Musée de Cluny. Sculpture et décoration monumentales. Petite sculpture. Orfèvrerie et métallurgie : objets d'usage personnel et profane. Orfèvrerie et métallurgie : objets à destination votive ou liturgique, 1985

Skubiszewski Piotr. Jean-Pierre Caillet. — L'antiquité classique, le haut moyen âge et Byzance au Musée de Cluny. Sculpture et décoration monumentales. Petite sculpture. Orfèvrerie et métallurgie : objets d'usage personnel et profane. Orfèvrerie et métallurgie : objets à destination votive ou liturgique, 1985. In: Cahiers de civilisation médiévale, 31e année (n°124), Octobre-décembre 1988. pp. 384-385