DOCSLIB.ORG

Itinerary Tours

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Itinerary Tours ITINERARY TOURS A STROLL THROUGH THE CITY 1 SUMMARY Touraine has always known how to enchant: Balzac lauded its harmony 5 URBAN AND HISTORICAL DEVELOPMENT and its landscapes, which he thought of as the most beautiful of the country, while Anatole France described it as a land of delights. 11 FROM ONE SITE TO ANOTHER Tours, the capital of this area, emerges like a rich concentration, a place 21 FAMOUS PEOPLE FROM TOURS where heritage takes many shapes: architectural, natural, intangible cultural, industrial and contemporary. In the urban fabric, we thus find 27 TRADITIONS AND KNOW-HOW vestiges from the origins of the city to modern day, each weaving the portrait of a dynamic and attractive city which is constantly reinventing 31 UNESCO: WORLD HERITAGE IN TOURS itself. By telling its story, by presenting its remarkable buildings, its illustrious inhabitants, its traditions and know-how, the identity of the 34 MAP OF TOURS city is revealed: manifold and unexpected, able to ravish all of the senses. As you read these pages, immerse yourself in the charm of our city, which opens its doors to you and reveals all of its characteristics acknowledged by UNESCO. It’s now up to you to stroll through the streets and discover its hidden corners and secrets. Christophe Bouchet Jacques Chevtchenko Maire de Tours Adjoint au Maire, délégué Cover: au patrimoine One of the entrances of the Saint-Pierre-le-Puellier Garden Timbered house of the Place Plumereau 1. View of the city from the 2 north tower of the cathedral URBAN AND HISTORICAL DEVELOPMENT 1. Saint Martin Collegiate Church, undated coloured engraving 1 2. Aerial view of Tours THE ANTIQUE CITY (1st to 4th centuries) THE MARTINOPOLE, THE CITY OF MARTIN (4th to 13th centuries) Caesarodunum, “dune of Caesar”, founded in the 1st century, was the Roman capital In the 4th century, the tomb of Saint Martin of the territory of the Turones. The city was built to the west of the city, outside developed on the left bank of the Loire, the enclosure. The establishment of a from Vieux Tours to the cathedral district pilgrimage from the 5th century led to a and from the Loire to the boulevards, proliferation of religious buildings. The where an ancient necropolis was set up. basilica, erected in the 6th century on the Archaeological digs have revealed traces saint’s tomb, was a key element. Around of public and private buildings, including this, the Martinopole, or the city of Martin, a remarkable amphitheatre, the shape developed, its reach matching today’s Vieux of which is repeated in the circular urban Tours. fabric to the east of the cathedral. Between With the Norman invasions in the 9th the end of the 3rd and the start of the 4th century, the town dug ditches and erected century, during the Migration Period in a wooden fence, which was later rebuilt in Europe, the city, like many Gallo-Roman stone, and became known as Châteauneuf, cities, retreated behind an enclosure. In castrum novum or Château de Saint Martin, Tours, it encircled an area of 9 hectares. At castrum Sancti Martini. In the 11th century, its centre was a mound, corresponding to the grand basilica of Saint Martin was built. what is now the cathedral district. A new bridge was built over the Loire. Numerous vestiges of the ancient enclosure still exist around the château, the cathedral, the Musée des Beaux-Arts and the Viking gardens. Saint Lidoire (338-370) built a prima ecclesia in the castrum. 4 2 5 1. Timbered houses 2. Tomb of the children of Anne of Brittany and Charles VIII, workshop of Michel Colombe 3. Panoramic view of Tours, Pierre-Antoine Demachy 4. Neo-gothic house, 1 2 3 4 Prébendes District THE CITY AT THE END OF THE MIDDLE TOURS IN THE RENAISSANCE PERIOD THE CITY IN THE MODERN PERIOD THE CITY IN THE 19th CENTURY AGES In Tours, the pivotal period between the In the 17th century, the walled city was As the rampart had no further military The Hundred Years’ War enforced the Middle Ages and the start of the Modern extended with the construction of the purpose, it was gradually taken down. It was construction, between 1356 and 1358, of era was a time of prosperous economic, new fortified enclosure. This protection knocked through in many places, notably to a fortification called La Clouaison, which intellectual and artistic development. Gothic doubled the town’s area, which now develop the semi-circular Place du Palais. united the towns of La Cité and Châteauneuf tradition and Italian modernity intermingled included the suburbs of La Riche and Today called Place Jean Jaurès, it was home from 1356 to 1368. Between these two towns, in exceptional building projects. Saint-Pierre-des-Corps. to the court house and later the city hall. due to a low occupation density, monasteries The Early Renaissance is visible in religious In the 18th century, Tours benefited from a The city developed southwards with the of the Mendicant Orders were built. architecture, such as the Cathedral, the policy which promoted the creation of main annexation of the commune of Saint-Étienne- From 1440 onward, thanks to Louis XI settling Psalette Cloister and Saint Martin Cloister, roads to connect towns. The new Route Extra. The arrival of the railway in Tours in in the castle of Plessis-lès-Tours, Tours and in the mansion houses of the upper class d’Espagne which passed through Tours gave 1846 led to the construction of a train station, became the capital of the kingdom for eighty of Tours, such as the Beaune-Semblançay or the city a north-south route perpendicular to called “L’Embarcadère” (meaning jetty), a years. This change in status led to most of Goüin mansions. The Psalette Cloister has the Loire. An urban shake-up took place as name which recalls the Loire’s navigational the accommodation being reconstructed. three galleries with Gothic-style architecture. Avenue de Grammont and Rue Royale, which tradition. The construction was later The model of mansion houses spread. Crafts The northern wing, which dates from the early became Rue Nationale after the Revolution, destroyed in favour of the current station, and trades grew as never before, while the 16th century, features Renaissance décor with were built over a distance of three kilometres. which is a short distance further south. The local bourgeoisie took advantage of the richly decorated doors with little cherubs, The urban development plan of Rue Royale resulting activity led to development of the court’s presence to get richer. Tours, rivalling or putti, and engravings. On the first floor, a presented alternately street-side buildings Fuye-Velpeau railway workers’ district. The with the artistic centre of Paris, became group of pilasters give the façade a unique and courtyard dwellings. This layout is still Prébendes district unfolds to the south with a the capital of the arts, where jewellery, structure. visible in the lower part of the street. The network of perpendicular roads studded with embroidery, illuminated manuscripts and Along with talented artists such as Michel urbanisation plan included the development narrow islands. The houses have distinctive silk delighted the royal court and the lords. Colombe, Martin and Bastien François or the of squares and a new stone bridge, now street-side façades, each with three or four Italian Giusti brothers, important patrons known as Wilson Bridge. The political and levels and two to three spans. They feature like Jacques de Beaune, lord of Semblançay, administrative centre was moved to the city’s stone quoins, cast iron balconies supported adorned the town with buildings in new northern entrance, on Place Anatole France. by sculpted consoles and pediment roof shapes and with new decorations. dormers. Between 1872 and 1874, in line with residents’ requests, a vast park was developed: the Prébendes d’Oé garden. 6 5 7 1 THE 20th CENTURY AND THE THIRTY districts of Rives du Cher and Sanitas met the GLORIOUS YEARS needs of this post-war housing crisis. The 1930s saw a renewal in urbanism and In 1964, the city grew again thanks to the accommodation with the construction of annexation of the communes of Saint- 2 garden cities. The Bords de Loire develop- Symphorien and Sainte-Radegonde, north ment, which was built between 1926 and of Tours, thus doubling the city’s area, which 1930, had 93 houses organised around a was now 3,000 hectares. square courtyard. The Beaujardin and Jolivet 1. Construction of the Rives du Cher District, Verdun developments built by Marcel Boille were RENOVATION OF VIEUX TOURS crossroad part of a major social advance with the With the emergence of new post-war hygiene favoured model of individual houses with a standards, the district of Vieux Tours was 2. Former rail station of the subject of a survey. It recommended full Tours: ‘L’embarcadère’, garden. lithography, 1854 A plan to rebuild Tours was already put restoration, initiated by Pierre Boille in 1960. forward by the Tours architect Camille Lefèvre His work inspired André Malraux, the minister 3. Pierre Boille, lead for culture, to create a new law, known as the architect in the restoration in 1940, but the incessant fighting prevented of the Vieux Tours, c.1970 this from happening. Pierre Patout, Malraux Law, in 1962, which established listed appointed chief architect of reconstruction, sectors. The Listed Protected Sector of Tours, modified the initial project and began to created in 1973 and revised in 2013, extends implement it in 1946. Place Anatole-France from Vieux Tours to the cathedral district. and Rue Nationale were rebuilt according Today it unfolds over 150 hectares, making to the principles of modernised classicism.
Load more

Recommended publications
  • WRAP THESIS Shilliam 1986.Pdf
    University of Warwick institutional repository: http://go.warwick.ac.uk/wrap A Thesis Submitted for the Degree of PhD at the University of Warwick http://go.warwick.ac.uk/wrap/34806 This thesis is made available online and is protected by original copyright. Please scroll down to view the document itself. Please refer to the repository record for this item for information to help you to cite it. Our policy information is available from the repository home page. FOREIGN INFLUENCES ON AND INNOVATION IN ENGLISH TOMB SCULPTURE IN THE FIRST HALF OF THE SIXTEENTH CENTURY by Nicola Jane Shilliam B.A. (Warwick) Ph.D. dissertation Warwick University History of Art September 1986 SUMMARY This study is an investigation of stylistic and iconographic innovation in English tomb sculpture from the accession of King Henry VIII through the first half of the sixteenth century, a period during which Tudor society and Tudor art were in transition as a result of greater interaction with continental Europe. The form of the tomb was moulded by contemporary cultural, temporal and spiritual innovations, as well as by the force of artistic personalities and the directives of patrons. Conversely, tomb sculpture is an inherently conservative art, and old traditions and practices were resistant to innovation. The early chapters examine different means of change as illustrated by a particular group of tombs. The most direct innovations were introduced by the royal tombs by Pietro Torrigiano in Westminster Abbey. The function of Italian merchants in England as intermediaries between Italian artists and English patrons is considered. Italian artists also introduced terracotta to England.
    [Show full text]
  • A Building Site in Early Sixteenth-Century Normandy: the Castle of Gaillon, Organization, Workers, Materials and Technologies
    A Building Site in Early Sixteenth-Century Normandy: the Castle of Gaillon, Organization, Workers, Materials and Technologies Flaminia Bardati The castle of Gaillon, built in Normandy between 1498 and 1510 for cardinal Georges I d’Amboise, has been considered one of the first and most significant achievements of the early French Renaissance. Sited on the top of a pleasant hill, the cardinal's residence towered over the villages of Gaillon, Sainte-Barbe and Aubevoie, and enjoyed a wonderful view of the river Seine and the rich plain belonging to the Rouen episcopate (fig.1). Figure 1. Jacques Androuet Du Cerceau, View of the castle of Gaillon (1576). 289 Because of its remarkable strategic geographic location, on the route from Paris to Rouen, Gaillon held a very important military position during the fight for the conquest of Normandy between the Plantagenets and the French crown. Definitively conquered by Philippe Auguste (1180-1223), the medieval castle was offered by King Saint Louis (1226-1270) to the archbishops of Rouen, who made Gaillon their principal residence until the French Revolution (Deville 1850, p. IX; Chirol 1952, pp. 86-91). In 1424 the English army destroyed all the fortified elements. Cardinal Guillaume d'Estouteville (1412-1483), who had maintained a princely court in Rome, became archbishop of Rouen in 1453; from the time of his election he started some restoration works at Gaillon, concerning mostly the castle entrance -the châtelet- and a few new apartments on the south-west side, known as the corps d'Estouteville (fig.2, G, N). From 1498 to 1510 Gaillon became the stage of the magnificent court orbiting around cardinal Georges I d'Amboise (1460-1510), the principal political and diplomatic protagonist of Louis XII's reign.
    [Show full text]
  • The Late Medieval Age of Crisis and Renewal, 1300-1500
    The Late Medieval Age of Crisis and Renewal, 1300–1500: A Biographical Dictionary Clayton J. Drees Editor GREENWOOD PRESS The Late Medieval Age of Crisis and Renewal, 1300–1500 Recent Titles in The Great Cultural Eras of the Western World Renaissance and Reformation, 1500–1620: A Biographical Dictionary Jo Eldridge Carney, editor The Late Medieval Age of Crisis and Renewal, 1300–1500 A Biographical Dictionary Edited by CLAYTON J. DREES The Great Cultural Eras of the Western World Ronald H. Fritze, Series Adviser GREENWOOD PRESS Westport, Connecticut • London Library of Congress Cataloging-in-Publication Data The late medieval age of crisis and renewal, 1300–1500 : a biographical dictionary / edited by Clayton J. Drees. p. cm.—(The great cultural eras of the Western world) Includes bibliographical references and index. ISBN 0–313–30588–9 (alk. paper) 1. Civilization, Medieval—Dictionaries. 2. Europe—History—476–1492—Biography— Dictionaries. 3. Europe—History—1492–1517—Biography—Dictionaries. 4. Europe— Social conditions—To 1492—Dictionaries. I. Drees, Clayton J. II. Series. CB353.L38 2001 940.1—dc21 00–022335 British Library Cataloguing in Publication Data is available. Copyright ᭧ 2001 by Clayton J. Drees All rights reserved. No portion of this book may be reproduced, by any process or technique, without the express written consent of the publisher. Library of Congress Catalog Card Number: 00–022335 ISBN: 0–313–30588–9 First published in 2001 Greenwood Press, 88 Post Road West, Westport, CT 06881 An imprint of Greenwood Publishing Group, Inc. www.greenwood.com Printed in the United States of America TM The paper used in this book complies with the Permanent Paper Standard issued by the National Information Standards Organization (Z39.48–1984).
    [Show full text]
  • Galeries Nationales – Grand Palais Dossier Pédagogique Enseignants
    GALERIES NATIONALES – GRAND PALAIS DOSSIER PÉDAGOGIQUE ENSEIGNANTS FRANCE 1500 ENTRE MOYEN ÂGE ET RENAISSANCE Jean Hey Annonciation, vers 1495, détail Huile sur bois The Art Institute of Chicago © RMN / The Art Institute of Chicago 2010 Affiche de l’exposition France 1500 (6 octobre 2010 – 10 janvier 2011) Réunion des musées nationaux, 2010 1 SOMMAIRE DOSSIER DES ENSEIGNANTS INTRODUCTION page 3 REPÈRES CHRONOLOGIQUES page 4 1 LA COMMANDE page 5 Le commanditaire ; ses obligations Maître d’œuvre et atelier 2 POUR TOUS LES GOÛTS page 9 Une production très variée Thèmes anciens et nouveaux Ornements modernes et antiques Le portrait 3 UN MONDE EN MOUVEMENT page 14 Les biens circulent Les artistes voyagent La révolution de l’imprimerie CONCLUSION page 17 QUELQUES PERSONNALITÉS page 18 DOSSIER DES ÉLÈVES (second fichier pdf à télécharger) LES ŒUVRES RACONTENT TOMBEAU DES ENFANTS DE CHARLES VIII ET ANNE DE BRETAGNE (1506) page 4 MÉDAILLE : LOUIS XI ET ANNE DE BRETAGNE (1499) page 6 RETABLE PAR JEAN HEY : L’ANNONCIATION (VERS 1495) page 8 PORTRAIT PAR LÉONARD DE VINCI : LA BELLE FERRONNIÈRE (VERS 1495-1499) page 10 PORTRAITS D’UN HOMME ET D’UNE FEMME PAR JEAN PERRÉAL (VERS 1500) page 12 IMPRIMÉ : LA DANSE MACABRE (VERS 1492) page 14 ENLUMINURE DE JEAN POYER : VIERGE EN MAJESTÉ (VERS 1500) page 16 FRAGMENT DE TAPISSERIE : PÉNÉLOPE (VERS 1500) page 18 VITRAIL : SAINT ÉLOI PROUVE SON INNOCENCE (VERS 1510) page 20 L’IMPRIMERIE: UNE TECHNIQUE RÉVOLUTIONNAIRE page 22 Réunion des musées nationaux, 2010 2 INTRODUCTION « France 1500, entre Moyen Âge et Renaissance » : tout est dit ! Comme toute période charnière de l’histoire de l’art, celle qui correspond ici aux règnes des rois Charles VIII et Louis XII restait à découvrir pour elle-même.
    [Show full text]
  • Coombs2013vol1.Pdf (5.079Mb)
    This thesis has been submitted in fulfilment of the requirements for a postgraduate degree (e.g. PhD, MPhil, DClinPsychol) at the University of Edinburgh. Please note the following terms and conditions of use: This work is protected by copyright and other intellectual property rights, which are retained by the thesis author, unless otherwise stated. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. 'Distantia Jungit': Scots Patronage of the Visual Arts in France, c.1445 – c.1545 Volume 1 Bryony J Coombs Ph.D. History of Art The University of Edinburgh 2013 'Distantia Jungit'1 1 'Unites things distant,' or 'joins things that were apart'. Bérault Stuart d'Aubigny's motto referring to his role as the 'buckle' between the kingdom of Scotland and the kingdom of France. Giovio, 1559, 92. DECLARATION I hereby declare that this thesis is my own work and has not been submitted for any other degree or professional qualification except as specified. Signature:....................................................................... Date:......................... iii ABSTRACT This thesis examines interest in the visual arts by patrons of Scottish descent, active in France, c.1445 to c.1545: the Monypenny family, Bérault and Robert Stuart d'Aubigny, and John Stuart, Duke of Albany.
    [Show full text]
  • Tommaso Mozzati “Tailleurs De Massonnerie Entique Italiens” Italian Sculpture and Sculptors at the French Court, Between Charles VIII and François I
    Tommaso Mozzati “tailleurs de massonnerie entique italiens” Italian Sculpture and Sculptors at the French Court, between Charles VIII and François I Premise This paper synthesizes in a very abbreviated form the results of my fellowships at the Italian Academy of the Columbia University but also the achievements of my work during these last five years in the context of a national project (Prin) followed by the Università degli Studi of Perugia (2006-2008) and of a collaboration with Dr. Flaminia Bardati. This last partnership brought to a first contribution about the activity of Girolamo Paciarotto and the Giusti brothers presented at the international meeting “Sculpture française du XVIe siècle” held at the INHA, Paris, and at the Conseil général de l’Aube, Troyes from 1st to 3rd October 2009. A more extended study about the same group of artists, co-signed with Flaminia Bardati, will be published in “Studiolo”, the review of the Academie de France in Rome (Villa Medici). The subject of my project is the activity of Italian sculptors in France during the reigns of Charles VIII (1484-1498), of Louis XII (1498-1515) and part of that of Francis I, from his ascent to the throne in 1515 to 1525, the date of the Battle of Pavia and of the definitive loss of Italian possessions for the French Crown. In this paper I intend to outline the context of my research, to present the most important tools of historical criticism I have availed myself and to indicate the type of analysis I have privileged in the past two years, since that is I begun working on this topic.
    [Show full text]
  • Renaissance Tours Sommaire
    PARCOURS RENAISSANCE TOURS SOMMAIRE 1 4 L’ESSOR D’UN NOUVEAU STYLE ARCHITECTURAL Aucune époque de l’Histoire de France n’évoque de prime abord, tant par son nom que par ses monuments emblématiques, un tel imaginaire que la 8 tOURS À LA RENAISSANCE Renaissance. Renommée pour ses richesses artistiques, la ville de Tours béné- ficie d’une aura toute particulière à la charnière entre Moyen Âge et début de 10 siTes eT MonuMenTs l’Époque Moderne. Capitale de fait, elle attire les plus grands du royaume et devient foyer des arts. 24 œUVRES TOURANGEllES : D’ici À AILLEURS Savoir, pouvoir et volonté ainsi réunis permettent la réalisation de chantiers d’exception. Véritables hérauts de cet élan architectural, les tours de la cathé- 26 PlAN DE LA VIllE drale Saint-Gatien imposent avec faste les nouveaux ornements italianisants. Oves et dards, rinceaux, candélabres, putti, losanges et médaillons font ainsi leur apparition dans les édifices religieux aussi bien que civils. Cette effervescence consacre rapidement la réputation de Tours en tant que belle ville Renaissance, si bien que certains, à l’image de Bossebœuf, en vien- dront à la comparer à Florence. À la découverte des monuments de ce parcours, édité dans le cadre des célé- brations « 500 ans de RenaissanceS » en Centre-Val de Loire, émerveillez-vous devant la finesse des décors et imprégnez-vous de l’atmosphère qui régnait à cet âge d’or de l’histoire tourangelle. Christophe Bouchet Jacques Chevtchenko Maire de Tours Adjoint au Maire délégué au patrimoine Couverture : Tombeau des enfants de Charles Viii et Anne de Bretagne Cloître de la Psalette 1.
    [Show full text]
  • Figurative Art of the Loire Valley Through the Prism of the Digital Humanities: ARVIVA and Sculpture 3D Projects
    Искусство Ренессанса 425 УДК: 7.034(44) ББК: 85.03 А43 DOI:10.18688/aa166-5-44 Marion Boudon-Machuel, Pascale Charron Figurative Art of the Loire Valley through the Prism of the Digital Humanities: ARVIVA and Sculpture 3D Projects The two research projects, ARVIVA and Sculpture 3D, deal with figurative arts created in the Loire Valley during the Renaissance. At the turn of the 15th century, the kings of France, enriched by recent belligerent excursions in Italy, took up residence on the banks of the Loire, thereby stimulating a spate of luxurious artistic production in the region [3]. In addition to the famous Loire Valley châteaux (from Amboise to Chambord), this production included painting in all its forms (panel paintings, miniatures, stained glass). It also included sculp- ture — the art of funeral monuments par excellence, but also of religious devotion — as well as several other art forms, such as goldsmithery, embroidery, tapestry, and the arts of war, of which today there unfortunately remains next to nothing. These two projects are based in the CESR (Centre des Etudes Supérieures de la Renaissance/ Centre for Advanced Renaissance Studies)1. They form part of a vast interdisciplinary research programme directed by the CESR and entitled Intelligence des Patrimoines (Intelligent Herit- age) which involves over 50 research laboratories and 1500 researchers from a wide range of disciplines including “exact” sciences, social sciences, and the humanities2. The principal aim of this vast scientific programme is to illustrate the potential of interdisciplinary research to generate new ways of apprehending and understanding heritage sites and objects.
    [Show full text]
  • Sorozatszerkesztő
    MŰVELTSÉG ÉS TÁRSADALMI SZEREPEK: ARISZTOKRATÁK MAGYARORSZÁGON ÉS EURÓPÁBAN SPECULUM HISTORIAE DEBRECENIENSE 18. (A Debreceni Egyetem Történelmi Intézete Kiadványai) Sorozatszerkesztő: PAPP KLÁRA Műveltség és társadalmi szerepek: arisztokraták Magyarországon és Európában Learning, Intellect and Social Roles: Aristocrats in Hungary and Europe SZERKESZTETTE: BÁRÁNY ATTILA, OROSZ ISTVÁN, PAPP KLÁRA, VINKLER BÁLINT Debrecen, 2014 A DEBRECENI EGYETEM TÖRTÉNELMI INTÉZETE KIADÁSA A borítót tervezte: GYARMATI IMRE grafikus A kötetet lektorálta: PÉTER KATALIN az MTA BTK Történettudományi Intézetének kutató professor emeritusa Technikai szerkesztő: HERMÁN ZSUZSANNA A kötet kiadását támogatta: az OTKA K 83521 számú pályázata, a Debreceni Egyetem Történelmi Intézete, a Debreceni Egyetem Történelmi és Néprajzi Doktori Iskolája, a Debreceni Akadémiai Bizottság Történelmi Munkabizottsága Vinkler Bálint szerkesztő munkáját a TÁMOP 4.2.4.A/2-11-1-2012-0001 azonosító számú Nemzeti Kiválóság Program – Hazai hallgatói, illetve kutatói személyi támogatást biztosító rendszer kidolgozása és működtetése országos program című kiemelt projekt által nyújtott személyi támogatással valósult meg. A projekt az Európai Unió támogatásával, az Európai Szociális Alap társfinanszírozásával valósul meg. Bárány Attila szerkesztő munkáját a Magyar Tudományos Akadémia – Debreceni Egyetem „Magyarország a középkori Európában” Lendület kutatócsoportja támogatta. ISSN 2060-9213 ISBN 978-963-473-767-4 © Debreceni Egyetem Történelmi Intézete © Szerzők Nyomta a Kapitális Kft., Debrecen
    [Show full text]
  • La Sculpture Du Val De Loire Au Xve Siècle : Une École Introuvable ? Jean-Marie Guillouet
    La sculpture du Val de Loire au XVe siècle : une école introuvable ? Jean-Marie Guillouet To cite this version: Jean-Marie Guillouet. La sculpture du Val de Loire au XVe siècle : une école introuvable ?. 303 : arts, recherches et créations, Editions 303, 2003, pp.250-259. halshs-00564926 HAL Id: halshs-00564926 https://halshs.archives-ouvertes.fr/halshs-00564926 Submitted on 10 Feb 2011 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Jean-Marie Guillouët, « La sculpture du Val de Loire au XVe siècle : une école introuvable ? », dans 303, 75 (2003), pp. 250-259. « La sculpture du Val de Loire au XVe siècle : une école introuvable ? », 303 Depuis les dernières décennies du XIXe siècle et le début du siècle suivant, l’idée de l’existence d’une école ligérienne de sculpture, constitutive d’un art du Val de Loire au XVe siècle, s’est progressivement érigée en vérité historique incontestable. Le désintérêt certain de la recherche pour l’étude du patrimoine sculpté de la fin du Moyen Âge explique que cette vision ne fut jamais véritablement remise en cause et qu’aujourd’hui encore les descriptifs « art du Val de Loire » ou « école de la Loire » fleurissent sur les cartels de nombreux musées.
    [Show full text]
  • La Lettre Des Amis De Montluçon
    La lettre desSociété Amis d’histoire et d’archéologiede Montluçon courriel : [email protected] web:http//www.amis-de-montlucon.com Compte rendu de la séance publique du 7 octobre 2007 numéro 121 - 13 e année Michel Colombe, le dernier imagier du roi La séance publique des Amis de Montluçon Michel Colombe serait né vers 1430 à Bourges s’est déroulée à la salle Robert-Lebourg. Les où son père, Philippe Colombe, était tombier, c’est- soixante-quinze personnes présentes ont d’abord à-dire un spécialiste du monument funéraire. Il avait entendu le président Jean-Paul Michard donner une certaine réputation puisque le maréchal Jean la rétrospective des activités de la société durant 1er de Brosse, seigneur de Sainte-Sévère, Boussac et l’année écoulée 2006-2007. Huriel, chambellan du roi et fidèle compagnon de Jeanne d’Arc, lui demanda d’exécuter son tombeau Ensuite ce fut au tour du conférencier de dans l’église Saint-Martin d’Huriel, où était la prendre la parole pour présenter sa conférence sur nécropole de la famille de Brosse. Ce travail avait « Michel Colombe, le dernier imagier du roi », ce été terminé en 1416. Après le décès du maréchal, grand sculpteur du XVe siècle (vers 1430-1513). Il Philippe Colombe fut chargé de graver l’épithaphe œuvra à la fin de l’art gothique qui fut supplanté à laquelle il ajouta : « Fait par Philippe Colombe ». peu à peu par celui de la Renaissance italienne, sans jamais être décadent, sous la poussée de la mode importée par les rois Charles VIII et Louis XII.
    [Show full text]