Universität Wien

080007 UE Medieval Polychrome Wood Sculpture: Materials - Technique - Function (2016W)

5.00 ECTS (2.00 SWS), SPL 8 - Kunstgeschichte und Europäische Ethnologie
Continuous assessment of course work
Moodle

Registration/Deregistration

Note: The time of your registration within the registration period has no effect on the allocation of places (no first come, first served).

Details

max. 20 participants
Language: German

Lecturers

Classes (iCal) - next class is marked with N

  • Thursday 06.10. 11:00 - 12:30 Seminarraum 4 d. Inst. f. Kunstgeschichte (1. Stock) UniCampus Hof 9 3F-O1-27
  • Thursday 13.10. 11:00 - 12:30 Seminarraum 4 d. Inst. f. Kunstgeschichte (1. Stock) UniCampus Hof 9 3F-O1-27
  • Thursday 20.10. 11:00 - 12:30 Seminarraum 4 d. Inst. f. Kunstgeschichte (1. Stock) UniCampus Hof 9 3F-O1-27
  • Thursday 27.10. 11:00 - 12:30 Seminarraum 4 d. Inst. f. Kunstgeschichte (1. Stock) UniCampus Hof 9 3F-O1-27
  • Thursday 03.11. 11:00 - 12:30 Seminarraum 4 d. Inst. f. Kunstgeschichte (1. Stock) UniCampus Hof 9 3F-O1-27
  • Thursday 10.11. 11:00 - 12:30 Seminarraum 4 d. Inst. f. Kunstgeschichte (1. Stock) UniCampus Hof 9 3F-O1-27
  • Thursday 17.11. 11:00 - 12:30 Seminarraum 4 d. Inst. f. Kunstgeschichte (1. Stock) UniCampus Hof 9 3F-O1-27
  • Thursday 24.11. 11:00 - 12:30 Seminarraum 4 d. Inst. f. Kunstgeschichte (1. Stock) UniCampus Hof 9 3F-O1-27
  • Thursday 01.12. 11:00 - 12:30 Seminarraum 4 d. Inst. f. Kunstgeschichte (1. Stock) UniCampus Hof 9 3F-O1-27
  • Thursday 15.12. 11:00 - 12:30 Seminarraum 4 d. Inst. f. Kunstgeschichte (1. Stock) UniCampus Hof 9 3F-O1-27
  • Thursday 12.01. 11:00 - 12:30 Seminarraum 4 d. Inst. f. Kunstgeschichte (1. Stock) UniCampus Hof 9 3F-O1-27
  • Thursday 19.01. 11:00 - 12:30 Seminarraum 4 d. Inst. f. Kunstgeschichte (1. Stock) UniCampus Hof 9 3F-O1-27
  • Thursday 26.01. 11:00 - 12:30 Seminarraum 4 d. Inst. f. Kunstgeschichte (1. Stock) UniCampus Hof 9 3F-O1-27

Information

Aims, contents and method of the course

Contents: The material wood demands a finishing and refining of the surface, therefore wooden sculptures are decorated with polychromy, from the early Middle Ages on. Complete metal covers were replaced step by step by more or less full polychrome surfaces, marking a development which can be traced until the late Gothic era with its technical very elaborate versions. On the basis of selected examples, different possibilities of the surface design will be studied. Findings from scientific examinations of polychrome surfaces will lead to conclusions on iconography and function of the sculptures. The course will also deal with the practice of surface repainting and even remodeling, common for medieval wooden sculptures, and reinterpretations as a consequence. Since the second half of the 19th century, special requirements for restoration and conservation arose from this popular practice, especially if the restoration-conservation aimed for the visualization of the so-called original surface. In this context it will be asked to what extent modern and contemporary ideas of the Middle Ages have influenced restoration-conservation treatments and consequently, how their impact esp. on the esthetical presentation of the sculptures can be evaluated.

Methods: After an introduction to the subject and its essential basics, the contents of the course are also taught on-site in front of original pieces of art (e.g., Belvedere). Students are expected to prepare for the respective meetings by means of home exercises (e.g., readings + questions, to be answered in writing), and to present a short talk on a selected object. Results of on-site exercises and discussions should be documented and compiled in logs. By the end of the course, a term paper is due. Contributions in English are welcome.

Aims: Students should get an insight into the techniques and tasks of medieval European polychrome sculptures, thus to appreciate the role of polychromy as an integral part of the wooden sculpture of the Middle Ages. At the same time, the often precarious condition of the polychrome surfaces should be realized, along with assessing recent surface repaints, as well as the results of removal of polychromy, and of restoration-conservation treatments.

Assessment and permitted materials

Logs, home exercises, short presentation + term paper, regular attendance, active participation in in-class discussions.

Minimum requirements and assessment criteria

Minimum attendance of 85% required; every absence requires for written authorization and attestation (e.g., doctor’s note); to pass the course every single assessment needs to be passed.

Examination topics

Reading list

(selected basic readings; additional readings will be announced during the course)
Brachert, Thomas, Die Techniken der polychromierten Holzskulptur, Teil 1, in: Maltechnik-Restauro, 1972, 153-178; Teil 2, in: Maltechnik-Restauro, 1972, 237-264.
Brachert, Thomas/Kobler, Friedrich, Fassung von Bildwerken, in: Reallexikon zur Deutschen Kunstgeschichte, Bd. VII, München 1981, Sp. 743-826 (Wiederabdruck in Buchenrieder 1990).
Buchenrieder, Fritz, Gefasste Bildwerke. Untersuchung und Beschreibung von Skulpturenfassungen mit Beispielen aus der praktischen Arbeit der Restaurierungswerkstätten des Bayerischen Landesamtes für Denkmalpflege 1958-1986, München 1990.
Koller, Manfred, Bildhauer und Maler. Technologische Beobachtungen zur Werkstattpraxis um 1400 anhand aktueller Restaurierungen, in: Internationale Gotik in Mitteleuropa (hg. v. Götz Pochat und Brigitte Wagner), Graz 1990, 135-160 (Kunsthistorisches Jahrbuch Graz, 24).
Koller, Manfred, Hundert Jahre "Freilegung" polychromer Figuren. Rückblick und Konsequenzen, in: Zeitschrift für Kunsttechnologie und Konservierung, 22, 2008, 73-88.
Kühn, Hermann, Farbe, Farbmittel: Pigmente und Bindemittel in der Malerei, in: RDK, BD. VII, Sp. 1-54 (Wiederabdruck in Buchenrieder 1990).
Kühn, Hermann/Roosen-Runge, Heinz/Straub, Rolf E./Koller, Manfred, Farbmittel. Buchmalerei. Tafel- und Leinwandmalerei, Stuttgart 1997 (1984) (Reclams Handbuch der künstlerischen Techniken. 1).
Philippot, Paul, Polychromie und Realitätscharakter in der Entwicklung der mittelalterlichen Plastik, in: Österreichische Zeitschrift für Kunst und Denkmalpflege, 42, 1988, 48-57.
Raff, Thomas, Die Sprache der Materialien. Anleitung zu einer Ikonologie der Werkstoffe, München 1994 (Kunstwissenschaftliche Studien. 61).
Schiessl, Ulrich/Kühnen, Renate (Hg.), Polychrome Skulptur in Europa. Technologie, Konservierung, Restaurierung, Dresden 1999.
Taubert, Johannes, Farbige Skulpturen. Bedeutung, Fassung, Restaurierung, München 1978.
Taubert, Johannes, Polychrome Sculpture. Meaning, Form, Conservation. Edited with a new introduction by Michele D. Marincola, Los Angeles 2015.
The Color of Life. Polychromy in Sculpture from Antiquity to the Present, Aust.-Kat. J.Paul Getty Museum, Los Angeles 2008.
Ulmann, Arnulf von, Bildhauertechnik des Spätmittelalters und der Frührenaissance, 2. A., Darmstadt 1994.

Association in the course directory

Last modified: Mo 07.09.2020 15:31