Un ensemble singulier du début du XVIIe siècle
The windows in the charnier house gallery at Saint Étienne du Mont have always been considered by researchers to be major works of the art of stained glass. The present study proposes to explain in what way they are so singular. They are unique by the diversity of their subjects, remarkable and inte...
Enregistré dans:
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| Format: | Article ou chapitre numérique |
| Langue: | Français |
| Publié: |
2019
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| Accès en ligne: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
| Résumé: | The windows in the charnier house gallery at Saint Étienne du Mont have always been considered by researchers to be major works of the art of stained glass. The present study proposes to explain in what way they are so singular. They are unique by the diversity of their subjects, remarkable and intensely current in the theological discourse of the period. They are also unusual in borrowing almost all the motifs from extremely varied graphic types, from history and allegory to images of typological arguments. The transposition of the medium of engraving into stained glass engenders the possibilities of radically different receptions. Instead of accompanying texts, of an invitation to devotion or to private meditation, the new spatial context of the charnier houses opens to other themes, liturgical rituals and texts, and catechesis. Through the change in the setting and the strategies of communication atypical in stained glass of its time, the scenes became invested with new messages, current and in the context of the place. That these complex iconographic combinations and these strategies of rhetoric in the image produced a coherent ensemble is to the credit of an entire identifiable network of ecclesiastics, donors, and artists. |
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