I am very grateful to our new curator, Danielle Johnson, for her insightful study on the transition in architecture and sculpture in the Ile-de-France. This is part of a larger study that she is currently undertaking. Danielle received her Ph.D. for a study on the Architectural Sculpture of the Late 11th/early 12th Century in the Region of the Aisne and Oise Valleys in 1984 from the University of Leiden in Holland. Since then, she has published several articles in the Bulletin monumental on architectural sculpture in the first half of the 12th century in the Paris region, including the demolished cloister of Saint-Denis, the former royal abbeys of Chelles and Saint-Maur-des-Fossés, Saint-Aignan (the private chapel of Etienne de Garlande) on the Ile-de-la Cité and, recently, Saint-Martin-des-Champs in Paris. She is professor of Gothic Art and Architecture in Wells College Junior Year Abroad Program and is Foreign Secretary for the ICMA. My thanks to Danielle and to Gerry (Guest) our web editor for getting the show online. Colum Colum Hourihane President, ICMA For the previous exhibition by Mat Immerzeel, please click here. PRESENTATION OF THE TRANSITION FROM ROMANESQUE TO EARLY GOTHIC SCULPTURE IN THE ILE-DE-FRANCE Over the past several years, I have been doing research on the transition from Romanesque to Early Gothic architectural sculpture from 1100 to 1170 in ca. 110 churches in the Ile-de-France and I’m currently writing a book including 75 of these churches. I’ve set up the presentation photos of the sculpture of this transition by date and type separated into 3 periods: (1) 1100-1135 – the Late Romanesque period (2) 1135-1155 – the period of the Transition (3) 1155-1170 – the definitive setting of Early Gothic sculpture. While the geometric capitals disappear after 1145-1155, the foliate capitals include more elaborate striated leaves after 1135 and both statue columns and harpies come to life after 1135, and as you will see, there are numerous evident changes. 1100-1135 Images (left to right, top to bottom): Chatenay-Malabry, Chelles, Deuil-la-Barre, Deuil-la-Barre, Deuil-la-Barre, Feucherolles, Saint-Martin-de-Brethencourt, Saint-Maur-des-Fossés, Saint-Thibaud-des-Vignes. The smooth, flat leaves are attached to the basket. The other foliate patterns are sculpted in low relief, as are the figurative capitals. However, there is basically very little movement in the bodies of the figures and their faces (for those that still exist) are often “humorous”. Many capitals are composed of interlacing vines that terminate in carved out leaves. 1135-1155                   Images (left to right, top to bottom): Auvers-sur-Oise, Cormeilles-en-Parisis (crypt), Cormeilles-en-Vexin, Etampes, Jouy-le-Moutier, Jouy-le-Moutier, Jouy-le-Moutier, Paris (Saint-Martin-des-Champs), Poissy (Notre-Dame), Saint-Denis (west façade), Saint-Maur-des-Fossés, Villennes-sur-Seine. Statue columns and harpies appear. The bodies of the statue columns are essentially integrated into the columns, their facial expression is totally “staid” and there is no contact with the viewer. Their pleated, parallel drapery is fastened to the body and defines the parts of the body with rounded circles or long ovals. The figures of the capitals are carved in slightly higher relief than the previous period and take on a certain movement and their faces are still relatively “amusing”. The foliate patterns become more delicate and the leaves began to break away from the basket and are carved in higher relief and in greater depth. The smooth leaves also begin to be carved in higher relief and are, often, superimposed in rows around the basket. 1155-1170 Images (left to right, top to bottom): Chars, Saint-Loup-de-Naud, Domont, Herblay, Poissy (Notre-Dame, choir ambulatory), Provins (Saint-Thibaud), Saint-Denis (cloister), Saint-Loup-de-Naud, Corbeil (Notre-Dame), Saint-Loup-de-Naud. By 1155, the Early Gothic sculpture was definitely set in place following the changes in sculpture that occurred in the previous period and remained as such until the 1190s when major changes occurred and the sculpture moved into the High Gothic period (as did the architecture, of course). However, from 1155 to 1170, the figures (statue columns, capitals, portal arches, etc.) became considerably more human: their faces took on a definite human expression; their drapery became more supple and began to break away from their bodies. And the statue columns began to break away from the columns, as well. The foliate capitals followed the figurative capitals – their relief and the movement of the leaves increased. Also, several new ways of presenting the leaves were created. Smooth leaves begin to appear more frequently and their volutes increased in size and style. In conclusion, I think that it is evident that the sculpture created in the second quarter of the 12th century in the Ile-de-France transmitted extremely important changes in European architectural sculpture. ICMA | The Cloisters | Fort Tryon Park | New York, NY 10040 | (212) 928-1146 |