Il porto di Genova e le sculture antelamiche di Fidenza riconsiderazione della questione provenzale

Yoshie Kojima*

*この研究の対応する著者

研究成果: Article査読

抄録

Since the end of the nineteenth century, scholars, especially Germans, ascribed to Provençal art the origin of the monumental sculpture of Benedetto Antelami, and in particular, that of the Cathedral of Fidenza. This thesis provoked a fervent debate, especially with regard to a hypothetical trip to Provence Antelami. Here, I would first like to review the noteworthy history of the studies on the sculpture of Antelami. Then, I will re-examine this problem, which still remains an issue, by focusing on the role of the port of Genoa. Indeed, in Genova the ‘magistri antelami’ in which Benedetto Antelami belonged have been active since at least the beginning of the twelfth century. Interestingly, Genova at that time enjoyed the status of a powerful maritime republic and had a strong commercial penetration in Provence. Regarding the relationship between Genoa and Fidenza, the role of the Pallavicino family should have been relevant.

寄稿の翻訳タイトルThe port of Genoa and the Antelami sculptures of Fidenza - Reconsideration of Provencal question
本文言語Italian
ページ(範囲)303-312
ページ数10
ジャーナルHortus Artium Mediaevalium
22
DOI
出版ステータスPublished - 2016
外部発表はい

ASJC Scopus subject areas

  • 視覚芸術と舞台芸術
  • 履歴

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