{Romanesque Art [continued (21)]}[6th March 1991]

[Redbook8:314][19910306:0930x]{Romanesque Art [continued (21)]}[6th March 1991]

19910306:0930

[continued]

‘For a time, this classicism* was a purely Mosan**development, but in time it became of European significance, when Mosan*** artists and their works started to influence the artistic production of neighbouring countries, especially France....’ ‘In the last quarter of the 12^th century Mosan classicism can be found affecting sculpture, painting, metalwork, and ivory carving, not only in large areas of northern France, but also in Germany and England. The Proto-Gothic style was, in large measure, of Mosan inspiration.

‘The late start of this development, which is towards an even greater naturalism, was due**** to yet another and probably the greatest of Mosan artists, Nicholas of Verdun.

#

*[See last previous ts entry]

**{(See [[Redbook8:313][19910306:0930w]{Romanesque Art [continued (19)]}[6th March 1991]] 314↓ [next ts entry]}

***(ie ?From the Meuse valley)

[Yes]

****[It seems that ‘due’ refers to the start, not its lateness. The text goes on to refer to his pulpit in the Augustinian monastery at Klosterneuberg, finished in 1181ce, consisisting of ‘numerous enamel plaques of related Old and New Testament scenes … which, in their style, depart from the gentleness of earlier Mosan works and depict a mood of great intensity and drama. This is further augmented in his other works, the shrines in the cathedrals of Cologne and Tournai. The art of Nicholas of Verdun is no longer Romanesque, and it foreshadows the style that was to be widespread in the first decades of the 13^th century.’]

#[– Encyclopaedia of Visual Art 4:584]

{See [[Redbook8:323][19910314:1020#]{[Gothic Art (2)][continued]}14th March 1991],] 323}

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