British. The Annunciation, 15th century. Alabaster, 42.5 x 28.6 cm. The Victoria and Albert Museum. Image courtesy of the Victoria and Albert Museum
Source: curatedobject.us
British. The Adoration of the Magi, mid-15th century.
Alabaster, 43.2 x 26.7 cm. The Victoria and Albert Museum.
In Reykjavik shorefront, not far from the city center — nothing is far from anything in Reykjavik — sits a commanding Viking ship statue.
Made of metal, this modernised version of the ships Vikings used to conquer a big part of the northern hemisphere back then is a sight worth not missing. The statue, named Sun Voyager, is made by artist Jon Gunnar Arnason.
Source: virtualtourist.com
Queen Anne Boleyn
Preserving Historical Figures® by George S. Stuart
Source: galleryhistoricalfigures.com
Carved by Jean de la Huerta and Antoine le Moiturier between 1443 and 1456/57, the unique devotional figures, known as “mourners,” were commissioned for the elaborate tomb of the second duke of Burgundy. Crafted with astonishing detail, the alabaster sculptures exemplify some of the most important artistic innovations of the late Middle Ages.
Source: medievalarchives.com
Giovanni di Balduccio, Annunciation, in church Santa Maria delle Carceri
Lamentation of Christ, Altar by Tilman Riemenschneider. Maidbronn/Germany
photo by Till Niermann
Detail of face of Rudolf von Scherenberg by Tilman Riemenscheider
photo by CSvBibra
Tilman Riemenschneider (c. 1460 – 7 July 1531) was a German sculptor and woodcarver active in Würzburg from 1483. He was one of the most prolific and versatile sculptors of the transition period between late Gothic and Renaissance, a master in stone and limewood.
A Green Man is a sculpture, drawing, or other representation of a face surrounded by or made from leaves. Branches or vines may sprout from the nose, mouth, nostrils or other parts of the face and these shoots may bear flowers or fruit. Commonly used as a decorative architectural ornament, Green Men are frequently found on carvings in churches and other buildings (both secular and ecclesiastical). “The Green Man” is also a popular name for English public houses and various interpretations of the name appear on inn signs, which sometimes show a full figure rather than just the head.
image: Rosslyn Chapel’s green man. There are in excess of 110 carvings of Green men in and around the Chapel.
Detail from Museum de Cluny, Paris
The Well of Moses by the Burgundian sculptor Claus Sluter, 1395-1403
AMIENS, grotesque sculptures known as «marmosets» below the larger sculptures c.1225
by
AMIENS, grotesque sculptures known as «marmosets» below the larger sculptures c.1225
by
image: Bust of Marie de France, ca. 1381
Jean de Liège (Franco-Netherlandish, ca. 1330–1381)
The head was the chief symbolic part of the body for Western culture in the Middle Ages, from the waning days of the Roman empire to the Renaissance. Since antiquity it signified not only the intellect, the center of power, but was also regarded as the seat of the soul. The face is not only central to identity, but is also the primary vehicle for human expression, emotion, and character. As such, the depiction of the head becomes a true test of the quality of the artist and a telling indicator of style. Sculptured heads in museums have lost their original context, whether by violent breaking from their bodies and from the monuments they once adorned, or simply by being removed and placed in a museum. By focusing on this one genre of object, the Middle Ages can be seen in a new light.
Source:The Face in Medieval Sculpture
