Polychrome Sculpture in a Sentence

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10.1515/ZKG-2019-3002

Already in 1995, Jürgen Michler pointed out that monochromy did exist in both medieval art and medieval polychrome sculpture, but does not appear in pure ‘classicist’ form.

White in Medieval Sculpture Polychromy – Iconography, Reception, Restoration

10.1016/J.MICROC.2019.104020

In this work, microsamples extracted from a Saint John the Evangelist polychrome sculpture, dating from the beginning of the eighteenth century and found in Rio de Janeiro, Brazil, were analyzed with micro-XRF and complimentary X-ray Fluorescence (XRF) techniques, Raman Spectroscopy, and Optic Microscopy (OM).

Micro-XRF analysis of a Brazilian polychrome sculpture

10.1177/1359183518811355

By comparing two medieval polychrome sculptures of a combined enthroned Virgin and nativity scene, important and hitherto unnoticed stages in their object biographies can be described.

Biographies carved in wood: Turning points in the lives of two medieval Virgin sculptures

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10.4000/MEDIEVALISTA.2313

11th- to early 13th-century medieval polychrome sculptures can be considered as ancestral testimony of knowledge, practices, and the exchange of carving and painting techniques in the Middle Ages.

New research findings on 11th-early 13th-century polychrome wood sculpture at the Royal Institute for Cultural Heritage, Brussels

10.1016/J.JAS.2018.11.008

This paper discusses analytical results from a selection of twenty-one samples of smalt, including wall paintings, architectural polychromy, polychrome sculptures, cave murals and textile paintings, each of which has been subject to a combination of polarized light microscopy, Raman spectroscopy and scanning electronic microscopy.

Smalt: An under-recognized pigment commonly used in historical period China

10.4000/MEDIEVALISTA.2281

And it is precisely the interest aroused by this Madonna at the origin of a new research project, just started by the same team, dedicated to the polychrome sculpture of the Romanesque era in Italy; a subject that is still little frequented by scholars.

Romanesque polychrome wood sculptures in Italy: towards a Corpus and a comparative analysis of the data from art-historical and technical studies

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Polychrome Sculpture
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What is/are Polychrome Sculpture?

Polychrome Sculpture - Already in 1995, Jürgen Michler pointed out that monochromy did exist in both medieval art and medieval polychrome sculpture, but does not appear in pure ‘classicist’ form. [1] In this work, microsamples extracted from a Saint John the Evangelist polychrome sculpture, dating from the beginning of the eighteenth century and found in Rio de Janeiro, Brazil, were analyzed with micro-XRF and complimentary X-ray Fluorescence (XRF) techniques, Raman Spectroscopy, and Optic Microscopy (OM). [2] By comparing two medieval polychrome sculptures of a combined enthroned Virgin and nativity scene, important and hitherto unnoticed stages in their object biographies can be described. [3] 11th- to early 13th-century medieval polychrome sculptures can be considered as ancestral testimony of knowledge, practices, and the exchange of carving and painting techniques in the Middle Ages. [4] This paper discusses analytical results from a selection of twenty-one samples of smalt, including wall paintings, architectural polychromy, polychrome sculptures, cave murals and textile paintings, each of which has been subject to a combination of polarized light microscopy, Raman spectroscopy and scanning electronic microscopy. [5] And it is precisely the interest aroused by this Madonna at the origin of a new research project, just started by the same team, dedicated to the polychrome sculpture of the Romanesque era in Italy; a subject that is still little frequented by scholars. [6]

Medieval Polychrome Sculpture

Already in 1995, Jürgen Michler pointed out that monochromy did exist in both medieval art and medieval polychrome sculpture, but does not appear in pure ‘classicist’ form. [1] By comparing two medieval polychrome sculptures of a combined enthroned Virgin and nativity scene, important and hitherto unnoticed stages in their object biographies can be described. [2] 11th- to early 13th-century medieval polychrome sculptures can be considered as ancestral testimony of knowledge, practices, and the exchange of carving and painting techniques in the Middle Ages. [3]