Les vitraux de Saint-Séverin : un écrin pour la peinture à Paris dans la seconde moitié du XVe siècle
The stained glass windows in the church of Saint Severin in Paris, conceived concurrently with the successive reorganizations of the building during the second half of the15th century, present the particularity of being able to follow the evolution of an entire pictorial current in one place. A curr...
Gorde:
| Egile nagusia: | |
|---|---|
| Formatua: | Article ou chapitre numérique |
| Hizkuntza: | Français |
| Argitaratua: |
2021
|
| Sarrera elektronikoa: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
| Gaia: | The stained glass windows in the church of Saint Severin in Paris, conceived concurrently with the successive reorganizations of the building during the second half of the15th century, present the particularity of being able to follow the evolution of an entire pictorial current in one place. A current that during this same period, played an important part in the Parisian artistic scene. The dialogue that these stained glass windows maintained with other sections of this production for other artistic supports, especially easel painting and manuscript illumination, was such that it invites a second look at the role of the painter responsible for the prototype in the actual realization of the stained glass windows. Continuing in the prolongation of an initial investigation carried out by Nicole Reynaud almost forty years ago, in which the author mainly studied three of the stained glass windows of the choir, this article seeks more specifically to shed light on the stained glass windows in the nave, more problematic, as much from the point of view of their dating as of their conception. |
|---|