Claus Suter - Mojzesov vodjnak

zaključna seminarska naloga

Sanja Stepanović (Author), Tine Germ (Mentor)

Abstract

Zaključna seminarska naloga se ukvarja Mojzesovim vodnjakom, mojstrovino nizozemskega kiparja Clausa Sluterja. Claus Sluter, dvorni kipar in vodja kiparske delavnice burgundskega dvora, je v času Filipa Drznega zaradi številnih inovacij zavzel pomembno mesto v razvoju umetnosti. Vodnjak je bil zgrajen med letoma 1395 in 1404 na dvorišču križnega hodnika kartuzije Champmol v Dijonu. Mojzesov vodnjak je bil v zgodovini močno poškodovan in danes poznamo le njegov spodnji del s šestimi figurami starozaveznih oseb ter pas s šestimi angeli. Od 19. stoletja do danes so bile izvedene številne rekonstrukcije izgubljenega prizora Križanja in kljub temu še vedno ne obstajajo zanesljivi podatki o njegovem videzu. Naloga bo obravnavala tudi politično in umetnostno vzdušje ter zgodovinske okoliščine, ki so bolj ali manj vplivale na nastanek vodnjaka. Posebne inovacije so poleg zelo zapletenega in danes še ne popolnoma jasnega ikonografskega programa (ki se pred tem nikoli ni pojavil v takšni obliki) vidne tudi v tako rekoč gledališkem pristopu pri postavitvi figur. Z vizualno in simbolično povezanostjo tvorijo zgodbo od spodaj navzgor, ki doživi svoj vrhunec s prizorom Križanja. Občutek dramatičnosti in subtilne napetosti je Sluter dosegel z izjemno psihologizacijo figur ter naturalističnim pristopom z občutkom za detajl pri njihovi izdelavi.

Keywords

umetnostna zgodovina;srednjeveška umetnost;srednjeveško kiparstvo;poznogotski realizem;diplomska dela;

Data

Language:	Slovenian
Year of publishing:	2022
Typology:	2.11 - Undergraduate Thesis
Organization:	UL FF - Faculty of Arts
Publisher:	[S. Stepanović]
UDC:	730.033.5(492):929Suter C.(043.2)
COBISS:	99281667
Views:	178
Downloads:	21
Average score:	0 (0 votes)
Metadata:

Other data

Secondary language:	English
Secondary title:	Claus Sluter – Well of Moses
Secondary abstract:	This final seminar paper deals with the so-called Well of Moses, a masterpiece made by the Dutch sculptor Claus Sluter, who was the court sculptor and leader of the sculpture workshop at the Burgundian Court. The well was erected between 1395 and 1404 in the cloister of the Carthusian Monastery of Champmol, just outside of Dijon. It did not survive to this day unscathed. All that is left is the lower portion with six figures of Old Testament prophets and a frieze made up of six angels. From the 19th Century until today, several attempts have been made to reconstruct the lost Crucifixion scene but without any definite solution. A further subject of this paper are the political and artistic atmosphere and historical circumstances that influenced the creation of the well. The pioneering – a very complicated and still not completely resolved iconographic program – is further enhanced by a somewhat theatrical approach to the positioning of figures. Their visual and symbolical connectedness forms a narrative directed upwards and culminating in the Crucifixion scene. By outstanding psychological characterization and, on the other hand, naturalistic attention to detail, Sluter managed to convey the feeling of drama and slight apprehension.
Secondary keywords:	art history;medieval art;medieval sculputre;late gothic realism;
Type (COBISS):	Bachelor thesis/paper
Study programme:	0
Embargo end date (OpenAIRE):	1970-01-01
Thesis comment:	Univ. v Ljubljani, Filozofska fak., Oddelek za umetnostno zgodovino
Pages:	55 str.
ID:	14610496