Twelfth and early thirteenth century polychromy at the northernmost edge of Europe: past analyses and future research

Detalhes bibliográficos
Autor(a) principal: Kollandsrud, Kaja
Data de Publicação: 2019
Outros Autores: Plahter, Unn
Tipo de documento: Artigo
Idioma: eng
Título da fonte: Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos)
Texto Completo: https://doi.org/10.4000/medievalista.2303
Resumo: The paper focuses on medieval wooden sculptures in the 12th and early 13th century in Norway, with preserved original polychromy. The presentation of materials used in the construction, the painting and gilding are based on material analyses. Their application is discussed and compared to those produced in the period that immediately follows. Conclusions reached about the characteristics of this period allow future research to be suggested.It is clear from the evidence gained that both the making and the perception of Catholic church art in medieval Norway was firmly rooted in an established culture consistent with Christian paradigms found in the rest of medieval Europe. The analytical results from the examination of sculpture preserved in Norway are therefore relevant to a wider European context. To what extent medieval sculpture was imported or produced in Norway and by whom is an ongoing discussion. A better knowledge of the sculptural traditions of a wider geographical area will provide the context required to improve our understanding of the cultural exchanges of the medieval period.   Bibliography Manuscripts BREPOHL, Erhard (transl.) – Theophilus Presbyter und das Mittelalterliche Kunsthandwerk: Gesamtausgabe der Schrift De Diversis Artibus in Zwei Bänden. Vol. 1: Malerei und Glas. Köln: Böhlau, 1999. BROECKE, Lara (transl.) – Cennino Cennini’s Il Libro Dell’arte. London: Archetype Publications, 2015. MS AM 194.8° in the Arnamagnæan Institute, University of Copenhagen. MS AM 685 d 4to in the Arnamagnæan Institute, University of Copenhagen. Printed sources BLINDHEIM, Martin – “Scandinavian Art and Its Relations to European Art around 1200”. in The Year 1200: A Symposium. New York:The Metropolitan Museum of Art, 1975, pp. 429-468. BLINDHEIM, Martin – Painted Wooden Sculpture in Norway c. 1100-1250, Medieval Art in Norway. Oslo: Scandinavian University Press, 1998. BLINDHEIM, Martin – Gothic Painted Wooden Sculpture in Norway 1220-1350. Oslo: Messel forlag, 2004. BOSSELMANN-RUICKBIE, Antje – “Contact between Byzantium and the West from the 9th to the 15th Century: Reflections in Goldsmiths’ Works and Enamels.” in DAIM, Falko; HEHER, Dominik; RAPP, Claudia (ed.) – Menschen, Bilder, Sprache, Dinge Wege der Kommunikation zwischen Byzanz und dem Westen 1: Bilder und Dinge. Studien zur Ausstellung ‘Byzanz & der Westen. 1000 vergessene Jahre’. Mainz: Verlag des Römisch-Germanischen Zentralmuseums, 2018, pp. 73-104. BRACHERT, Thomas – “Fassung von Bildwerken: Geschichte”. in Reallexicon zur deutschen Kunstgeschichte, vol. 7. München: Beck, 1981, pp. 793-798. BYNUM, Caroline Walker – Christian Materiality: An Essay on Religion in Late Medieval Europe. New York: Zone Books, 2011. EKROLL, Øystein – “Erkebiskop Eystein, Oktogonen i Kristkyrkja og Kristi Gravkyrkja i Jerusalem”. in BJØRLYKKE, Kristin et alii (ed.) – Eystein Erlendsson – Erkebiskop, politiker og kirkebygger. Trondheim: Nidaros domkirkes restaurerings­arbeiders forlag, 2012. ELKINS, James – “On Some Limits of Materiality in Art History,” in NEUNER, Stefan; GELSHORN, Julia (ed.) – Taktilität: Sinneserfahrung als Grenzerfahrung. Das Magazin des Instituts für Theorie 12, 2008, pp. 25-30. ENDEMANN, Klaus – “Zur Holzskulptur Des Frühen Mittelalters. Voraussetzungen und Funktion – Schnitztechnik und Fassung”, Zeitschrift für Kunsttechnologie und Konservierung 26/1, 2012, pp. 400-434. FRØYSAKER, Tine – “Den middelalderske Kristusfiguren fra Otterøy kirke, Namsos kommune i Nord-Trøndelag. Et konserveringsprosjekt”. NIKU Oppdragsmelding 023, Oslo, 1996. FRØYSAKER, Tine; KOLLANDSRUD, Kaja – “The Calvary Group in Urnes Stave Church, Norway: A Technological Examination”. in NADOLNY, Jilleen (ed.) – Medieval Painting in Northern Europe: Techniques, Analysis, Art History. London: Archetype, 2006, pp. 43-58. GARIPZANOV, Ildar – “Wandering Clerics and Mixed Rituals in the Early Christian North, c. 1000-1150”. The Journal of Ecclesiastical History 63/1, 2012, pp. 1-17. GJERTSEN, Randi – “Den korsfestede Kristus fra Skafså Kirke, Tokke Kommune i Telemark. Undersøkelser og konservering”. NIKU publikasjoner 123, 2002, pp. 1-34. HAASTRUP, Ulla – “Byzantisk klædte ærkeengle i danske fresker: Kombinationen af ærkeengle med Majestas Domini i 1. halvdel af 1100-tallet”, Nordic Review of Iconography 1, 2014, pp. 6-36. HALLDÓRSSON, Ólafur – “Líkneskjusmið”, Árbók hins íslenzka fornleifafélags 1973, 1974, pp. 5-17. HARVEY, Joshua; KOLLANDSRUD, Kaja; SMITHSON, Hannah – “Not all that Glitters: Probing Material Perception with a Physical Imitation-gold Stimulus”, AVA Christmas Meeting, Queen Mary University of London, December 18, 2017, Perception 47, 2018. HOHLER, Erla B.; MORGAN, Nigel J.; WICHSTRØM, Anne – Painted Altar Frontals of Norway, 1250-1350. vol. 1: Artists, Styles and Iconographye. London: Archetype Publications, 2004. JÄGER, Elisabeth – “Zur Polychromie der Kölner Skulptur vom 12.- Bis zum Ende des 14. Jahrhunderts”. in BERGMANN, U. (ed.) – Schnütgen-Museum. Holzskulpturen des Mittelalters, (1000-1400). Köln: Schnütgen-Museum, 1989, pp. 99-104. KALAND, Bjørn – “Baldakin Fra Hopperstad – Madonna Fra Hove”, Foreningen til norske fortidsminnesmerkers bevaring LIX. Oslo: Foreningen til norske fortidsminnesmerkers bevaring, 1973, pp. 1-14. KARGÈRE, Lucretia; RIZZO, Adriana – “Twelfth-Century French polychrome sculpture in The Metropolitan Museum of Art: Materials and Techniques”. Metropolitan Museum Studies in Art, Science, and Technology 1, 2010, pp. 39-72. KAUSLAND, Kristin – “Late Medieval Paintings in Norway – Materials, Techniques, Origins”. Zeischrift für Kunsttechnologie und Konservierung 31/1, 2016, pp. 47-66. KITZINGER, Ernst – “The Byzantine Contribution to Western Art of the Twelfth and Thirteenth Centuries”. Dumbarton Oaks Papers 20, 1966. KLOCKE, Jens; LEHMANN, Jirina – “Technik des Unterlegens von grobkörnigen Pigmenten: die Veneda des Theophilus”. Restauro 107/5, 2001, pp. 373-375. KOLLANDSRUD, Kaja – "Krusifiks fra Haug kirke Buskerud C nr. 3604: Undersøkelser og behandling." Varia 27, 1994. KOLLANDSRUD, Kaja – “Vasaris Theory of the Origins of Oil Painting and Its Influence on Cleaning Methods: The Ruined Polychromy of the Early Thirteenth Century Crucifix from Haug, Norway”. in LINDLEY, Phillip (ed.) – Sculpture Conservation: Preservation or Interference?, Liverpool: Scholar Press, Ashgate Publishing Company, 1997, pp. 139-149. KOLLANDSRUD, Kaja – “Technological Mapping of Norwegian Polychrome Wooden Sculpture, 1100-1350: a Preliminary Overview”. in HOFSETH, Ellen H. (ed.) UKM skrifter 1. Oslo: Universitetets kulturhistoriske museer, 2002, pp. 125-141. KOLLANDSRUD, Kaja – “340 Kruzifix aus Lunder”. in KROKER, Martin (ed.) – Credo. Christianisierung Europas im Mittelalter. Katalog Band II, VI Sterbende götter: Christianisierung Skandinaviens. Petersberg: Michael Imhof Verlag, 2013, pp. 340-341. KOLLANDSRUD, Kaja – “Polychrome Light in Medieval Norwegian Church Art (12th–13th Centuries)”. in KROESEN, Justin E. A.; SAUERBERG, Marie Louise; NYBORG, Ebbe (ed.) – From Conservation to Interpretation: Studies in Religious Art (c. 1100–c. 1800) in Northern and Central Europe in Honour of Peter Tångeberg. Leuven: Peeters verlag, 2017, pp. 57-82. KOLLANDSRUD, Kaja – Evoking the Divine: The Visual Vocabulary of Sacred Polychrome Wooden Sculpture in Norway between 1100 and 1350. Oslo: University of Oslo, 2018. Unpublished PhD thesis. KOLLANDSRUD, Kaja – “Between Heaven and Earth”. in BJERREGAARD, Peter (ed.) – Transformation: Faith and Sacred Objects in the Middle Ages. Trondheim: Museumsforlaget AS, 2018, pp. 68-71. KOLLANDSRUD, Kaja – “The Divine Communicated through Embodied Light in Medieval Sculpture in Norway”. Selected papers from the conference Science, Imagination, Wonder: Robert Grosseteste and his Legacy. Pembroke College, Oxford University, 3-5. April 2018. Brepols; due 2019. KOLLANDSRUD, Kaja; HUTH, Nadine – “Beyond the Precious with Painterly Effects: The Thirteenth Century Sculpted Frontal from Komnes, Buskerud in Norway”. in GRINDER-HANSEN, Poul (ed.) – Image and Altar 800-1300. Papers from an Inter­national Conference in Copenhagen 24-27 October. Copenhagen: PNM Publications from the National Museum Studies in Archaeology & History 2014, pp. 229-246. KUMLER, Aden; LAKEY, Christopher R. – “Res Et Significatio: The Material Sense of Things in the Middle Ages”. Gesta 51, 2012, pp. 1-17. LAMARK, Wenche G. H. – Tanum Kirkes Kalkmalerier. University of Oslo: Department of Art History, 2009. Master thesis. LINDBERG, Håkan – “Some Notes Regarding the Conservation of the Viklau Madonna (Gotland, Sweden)”. in KROESEN, Justin E. A.; SAUERBERG, Marie Louise; NYBORG, Ebbe (ed.) – From Conservation to Interpretation: Studies in Religious Art (c. 1100 – c. 1800) in Northern and Central Europe in Honour of Peter Tångeberg, Art and Religion 7, Peeters verlag, 2017, pp. 11-22. MERCIER, Emmanuelle; SANYOVA, Jana – “Art et techniques de la polychromie romane sur bois dans dans l’Europe du Nord”. in Les Cahiers de Saint-Michel de Cuxa XLIII, pp. 125-135. MORGAN, Nigel J. – “4 Dating, Styles and Groupings”. in HOHLER, Erla B.; MORGAN, Nigel J.; WICHSTRØM, Anne – Painted Altar Frontals of Norway, 1250-1350. Vol. 1: Artists, Styles and Iconographye. London: Archetype Publications, 2004, pp. 20-38. NADOLNY, Jilleen – “Some Observations on Northern European Metalbeaters and Metal Leaf in the Late Middle Ages”. in RUSHFIELD, Anne; BALLARD, Mary W. – Studies in the Honour of Lawrence J. Majewski on the Occasion of His 80th Birthday, February 10th 1999. New York: Conservation Center of the Institute of Fine Arts, 1999, pp. 134-160. NADOLNY, Jilleen – The Techniques and use of Gilded Relief Decoration by Northern European Painters, c. 1200-1500. London: University of London, 2001. Unpublished PhD thesis. NADOLNY, Jilleen – “All That is Burnished isn’t Bole. Reflections on Medieval Water Gilding: Part 1: Early Medieval to 1300”. in NADOLNY, Jilleen (ed.) – Medieval Painting in Northern Europe. Techniques, Analysis, Art History. London: Archetype, 2006, pp. 148-162. NADOLNY, Jilleen – “One Craft, many Names: Gilders, Preparers, and Polychrome Painters in the 15th and 16th Centuries.” in Art Technical Source Research. ICOM-CC, 2008, pp. 10-17. OLSTAD, Tone M. – “Madonna med barnet: konservering og restaurering av en polykrom treskulptur fra 1200-tallet i Vallset Kirke, Stange i Hedmark”, NIKU oppdragsmelding 27 (1996). PENTCHEVA, Bissera V. – The Sensual Icon: Space, Ritual, and the Sences in Byzantium. Pennsylvania: The Pennsylvania State University Press, 2010. PERCH-NIELSEN, Katharina von Salis; PLAHTER, Unn – “Analyses of Fossil Coccoliths in Chalk Grounds of Medieval Art in Norway”. in MALMANGER, Magne; BERCELLY, Lazlo; FUGLESANG, Signe (ed.) – Norwegian Medieval Frontals. Acta ad archaeologiam et artivm historiam pertinentia XI. Papers from the Conference in Oslo December 1989. Roma: Giorgia Bretschneider, 1995, pp. 145-156. PILZ, Elisabeth (ed.) – Byzantium and Islam in Scandinavia. Studies in Mediterranean Archaeology, vol. CXXVI. Jonsered: Paul Åströms förlag, 1998. PLAHTER, Leif E. – “Paint Analyses of the Crucifix from Eggedal”. Universitetets Oldsaksamlings årbok 1960-1961, 1963, pp. 94-108. PLAHTER, Unn – “Noen observasjoner i 1100-tallets bemaling sett i relasjon til antemensalemaleriet”. Paper presented at the Nordisk konservatorforbund’s 9. kongress, Oslo, 1981, pp. 71-78. PLAHTER, Unn – “Líkneskjusmíð: 14th-Century Instructions for Painting from Iceland”. in MALMANGER, Magne; BERCELLY, Laszlo; FUGLESANG, Signe (ed.) – Norwegian Medieval Altar Frontals and Related Material. Roma: Giorgio Bretschneider, 1995, pp. 157-72. PLAHTER, Unn – “A Survey of Pigments and Pigment application on 31 Norwegian Medieval Oil Paintings from the period 1250-1350”. in VONTOBEL, R. (ed.) – Preprints of the ICOM-CC 13th Triannial Meeting, Rio de Janeiro, 22-27. September. London: James and James Science Publishers Ltd., 2002, vol. 1, pp. 446-454. PLAHTER, Unn – Painted Altar Frontals of Norway, 1250-1350. Vol. 2: Materials and Technique. London: Archetype Publications, 2004. PLAHTER, Unn – “The Crucifix from Hemse: Analyses of the Painting Technique”. in NADOLNY, Jilleen (ed.) – Medieval Painting in Northern Europe. Techniques, Analysis, Art History. London: Archetype, 2006 (First printed 1984), pp. 11-20. PLAHTER, Unn – “Medieval Painting Materials and Techniques in Norway. To what extent did the Painters tempt to Simulate Goldsmith’s Work?”, Zeitschrift für Kunsttechnologie und Konservierung 24/1, 2010, pp. 160-169. PLAHTER, Unn – “The Trade in Painter's Materials in Norway in the Middle Ages. Part 2: Materials, Technique and Trade from the Twelfth Century to the Mid-Fourteenth Century”. in KIRBY, Jo; NASH, Susie; CANNON, Joanna (ed.) – Trade in Artist's Materials. Markets and Commerce in Europe to 1700. London: Archetype publisher, 2010, pp. 64-73. PLAHTER, Unn – “Norwegian Art Technology in the Twelfth and Thirteenth Centuries: Materials and Techniques in a European Context”. Zeitschrift für Kunsttechnologie und Konservierung 28/1 (2014), pp. 298-332. RICE, David Talbot – “The Britain and the Byzantine World in the Middle Ages”. in VOLBACH, Wolfgang Fritz (ed.) – Byzantine Art – A European Art. Lectures. Athen: Department of Antiquities and Archaeological Restoration, 1966, pp. 21-42. SCHARFFENBERG, Katrine – Kristus fra Fjell kirke, Østre Toten: Konstruksjon, maleteknikk og behandlingshistorikk. Unpublished treatment report, MCH 2006. SCHOLTKA, Annette – “Theophilus Presbyter – Die Maltechnischen Anweisungen und Ihre Gegenüberstellung mit Naturwissenschaftlichen Untersuchungsbefunden”. Zeitschrift für Kunsttechnologie und Konservierung, 6/1, 1992, pp. 44-45. SELSJORD, Marianne – “The ‘Golden Madonna’ from Dyste Church”. In Yearbook of the Historical Archives of Historical Art Technology. Technologia Artis. Prague: The Union of Czech Artists in collaboration with the Institute for Art history ^CSAV and the Academy of Fine Arts in Prague, 1993, pp. 113-116. SERCK-DEWAIDE, Myriam – “The History and conservation of the surface coating on European gilded-wood Objects”. in BIGELOW, D.; CORNU, E.; LANDREY, G. J.; VAN HORNE, C. (ed.) – Gilded Wood, Conservation and History. Sound View Press, Madison (CT), 1991, pp. 65-73. TAUBERT, Johannes – Polychrome Sculpture: Meaning, Form, Conservation. MARINCOLA, Michele D. (trans.). Getty Conservation Institute: Getty Publications, 2015. TÅNGEBERG, Peter – Holzskulptur Und Altarschrein. Studien Zu Form, Material Und Technik Mittelalterliche Plastik in Schweden. München: Georg D. W. Callwey, 1989. TÅNGEBERG, Peter – “The Crucifix from Hemse: Analyses of the Painting Technique”. in NADOLNY, Jilleen (ed.) – Medieval Painting in Northern Europe. Techniques, Analysis, Art History. London: Archetype, 2006 (First printed 1984), pp. 1-10. URBANEK, Regina – “Die Hovener Madonna – Bestand und Bewertung”, Zeitschrift für Kunsttechnologie und Konservierung 30/2, 2016, pp. 261-228. WHITE, Raymond – “Analyses of Norwegian Medieval Paint Media: A Preliminary Report”. in MALMANGER, Magne, BERCELLY, Laszlo and FUGLESANG, Signe (ed.) – Norwegian Medieval Altar Frontals and Related Material. Roma: Giorgio Bretschneider, 1995, pp. 127-136. WIIK, Svein – “Líkneskjusmíð. Medieval Polychrome Technique in Iceland”. Zeitschrift für Kunsttechnologie und Konservierung 9, 1995, pp. 327-336. WILLIAMSON, Beth – “Material Culture and Medieval Christianity”. in ARNOLD, John H. (ed.) – The Oxford Handbook of Medieval Christianity. Oxford, 2014. WILLIAMSSON, Paul – Gothic Sculpture 1140-1300, Pelican History of Art. New Haven and London: Yale University Press, 1995. WINFIELD, David C. – “Middle and later Byzantine Wall Painting Methods. A Comparative Study”. Dumbarton oaks Papers. Washington: Dumbarton Oaks Centre for Byzantine Studies, Trustees for Harvard University, 1968.
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spelling Twelfth and early thirteenth century polychromy at the northernmost edge of Europe: past analyses and future researchPolicromia nos séculos XII e início de XIII no extremo norte da Europa: análises passadas e pesquisa futuraPolychromy, Sculpture, Materiality, Painting technology, MedievalPolicromia, Escultura, Materialidade, Tecnologia de pintura, MedievalThe paper focuses on medieval wooden sculptures in the 12th and early 13th century in Norway, with preserved original polychromy. The presentation of materials used in the construction, the painting and gilding are based on material analyses. Their application is discussed and compared to those produced in the period that immediately follows. Conclusions reached about the characteristics of this period allow future research to be suggested.It is clear from the evidence gained that both the making and the perception of Catholic church art in medieval Norway was firmly rooted in an established culture consistent with Christian paradigms found in the rest of medieval Europe. The analytical results from the examination of sculpture preserved in Norway are therefore relevant to a wider European context. To what extent medieval sculpture was imported or produced in Norway and by whom is an ongoing discussion. A better knowledge of the sculptural traditions of a wider geographical area will provide the context required to improve our understanding of the cultural exchanges of the medieval period.   Bibliography Manuscripts BREPOHL, Erhard (transl.) – Theophilus Presbyter und das Mittelalterliche Kunsthandwerk: Gesamtausgabe der Schrift De Diversis Artibus in Zwei Bänden. Vol. 1: Malerei und Glas. Köln: Böhlau, 1999. BROECKE, Lara (transl.) – Cennino Cennini’s Il Libro Dell’arte. London: Archetype Publications, 2015. MS AM 194.8° in the Arnamagnæan Institute, University of Copenhagen. MS AM 685 d 4to in the Arnamagnæan Institute, University of Copenhagen. Printed sources BLINDHEIM, Martin – “Scandinavian Art and Its Relations to European Art around 1200”. in The Year 1200: A Symposium. New York:The Metropolitan Museum of Art, 1975, pp. 429-468. BLINDHEIM, Martin – Painted Wooden Sculpture in Norway c. 1100-1250, Medieval Art in Norway. Oslo: Scandinavian University Press, 1998. BLINDHEIM, Martin – Gothic Painted Wooden Sculpture in Norway 1220-1350. Oslo: Messel forlag, 2004. BOSSELMANN-RUICKBIE, Antje – “Contact between Byzantium and the West from the 9th to the 15th Century: Reflections in Goldsmiths’ Works and Enamels.” in DAIM, Falko; HEHER, Dominik; RAPP, Claudia (ed.) – Menschen, Bilder, Sprache, Dinge Wege der Kommunikation zwischen Byzanz und dem Westen 1: Bilder und Dinge. Studien zur Ausstellung ‘Byzanz & der Westen. 1000 vergessene Jahre’. Mainz: Verlag des Römisch-Germanischen Zentralmuseums, 2018, pp. 73-104. BRACHERT, Thomas – “Fassung von Bildwerken: Geschichte”. in Reallexicon zur deutschen Kunstgeschichte, vol. 7. München: Beck, 1981, pp. 793-798. BYNUM, Caroline Walker – Christian Materiality: An Essay on Religion in Late Medieval Europe. New York: Zone Books, 2011. EKROLL, Øystein – “Erkebiskop Eystein, Oktogonen i Kristkyrkja og Kristi Gravkyrkja i Jerusalem”. in BJØRLYKKE, Kristin et alii (ed.) – Eystein Erlendsson – Erkebiskop, politiker og kirkebygger. Trondheim: Nidaros domkirkes restaurerings­arbeiders forlag, 2012. ELKINS, James – “On Some Limits of Materiality in Art History,” in NEUNER, Stefan; GELSHORN, Julia (ed.) – Taktilität: Sinneserfahrung als Grenzerfahrung. Das Magazin des Instituts für Theorie 12, 2008, pp. 25-30. ENDEMANN, Klaus – “Zur Holzskulptur Des Frühen Mittelalters. Voraussetzungen und Funktion – Schnitztechnik und Fassung”, Zeitschrift für Kunsttechnologie und Konservierung 26/1, 2012, pp. 400-434. FRØYSAKER, Tine – “Den middelalderske Kristusfiguren fra Otterøy kirke, Namsos kommune i Nord-Trøndelag. Et konserveringsprosjekt”. NIKU Oppdragsmelding 023, Oslo, 1996. FRØYSAKER, Tine; KOLLANDSRUD, Kaja – “The Calvary Group in Urnes Stave Church, Norway: A Technological Examination”. in NADOLNY, Jilleen (ed.) – Medieval Painting in Northern Europe: Techniques, Analysis, Art History. London: Archetype, 2006, pp. 43-58. GARIPZANOV, Ildar – “Wandering Clerics and Mixed Rituals in the Early Christian North, c. 1000-1150”. The Journal of Ecclesiastical History 63/1, 2012, pp. 1-17. GJERTSEN, Randi – “Den korsfestede Kristus fra Skafså Kirke, Tokke Kommune i Telemark. Undersøkelser og konservering”. NIKU publikasjoner 123, 2002, pp. 1-34. HAASTRUP, Ulla – “Byzantisk klædte ærkeengle i danske fresker: Kombinationen af ærkeengle med Majestas Domini i 1. halvdel af 1100-tallet”, Nordic Review of Iconography 1, 2014, pp. 6-36. HALLDÓRSSON, Ólafur – “Líkneskjusmið”, Árbók hins íslenzka fornleifafélags 1973, 1974, pp. 5-17. HARVEY, Joshua; KOLLANDSRUD, Kaja; SMITHSON, Hannah – “Not all that Glitters: Probing Material Perception with a Physical Imitation-gold Stimulus”, AVA Christmas Meeting, Queen Mary University of London, December 18, 2017, Perception 47, 2018. HOHLER, Erla B.; MORGAN, Nigel J.; WICHSTRØM, Anne – Painted Altar Frontals of Norway, 1250-1350. vol. 1: Artists, Styles and Iconographye. London: Archetype Publications, 2004. JÄGER, Elisabeth – “Zur Polychromie der Kölner Skulptur vom 12.- Bis zum Ende des 14. Jahrhunderts”. in BERGMANN, U. (ed.) – Schnütgen-Museum. Holzskulpturen des Mittelalters, (1000-1400). Köln: Schnütgen-Museum, 1989, pp. 99-104. KALAND, Bjørn – “Baldakin Fra Hopperstad – Madonna Fra Hove”, Foreningen til norske fortidsminnesmerkers bevaring LIX. Oslo: Foreningen til norske fortidsminnesmerkers bevaring, 1973, pp. 1-14. KARGÈRE, Lucretia; RIZZO, Adriana – “Twelfth-Century French polychrome sculpture in The Metropolitan Museum of Art: Materials and Techniques”. Metropolitan Museum Studies in Art, Science, and Technology 1, 2010, pp. 39-72. KAUSLAND, Kristin – “Late Medieval Paintings in Norway – Materials, Techniques, Origins”. Zeischrift für Kunsttechnologie und Konservierung 31/1, 2016, pp. 47-66. KITZINGER, Ernst – “The Byzantine Contribution to Western Art of the Twelfth and Thirteenth Centuries”. Dumbarton Oaks Papers 20, 1966. KLOCKE, Jens; LEHMANN, Jirina – “Technik des Unterlegens von grobkörnigen Pigmenten: die Veneda des Theophilus”. Restauro 107/5, 2001, pp. 373-375. KOLLANDSRUD, Kaja – "Krusifiks fra Haug kirke Buskerud C nr. 3604: Undersøkelser og behandling." Varia 27, 1994. KOLLANDSRUD, Kaja – “Vasaris Theory of the Origins of Oil Painting and Its Influence on Cleaning Methods: The Ruined Polychromy of the Early Thirteenth Century Crucifix from Haug, Norway”. in LINDLEY, Phillip (ed.) – Sculpture Conservation: Preservation or Interference?, Liverpool: Scholar Press, Ashgate Publishing Company, 1997, pp. 139-149. KOLLANDSRUD, Kaja – “Technological Mapping of Norwegian Polychrome Wooden Sculpture, 1100-1350: a Preliminary Overview”. in HOFSETH, Ellen H. (ed.) UKM skrifter 1. Oslo: Universitetets kulturhistoriske museer, 2002, pp. 125-141. KOLLANDSRUD, Kaja – “340 Kruzifix aus Lunder”. in KROKER, Martin (ed.) – Credo. Christianisierung Europas im Mittelalter. Katalog Band II, VI Sterbende götter: Christianisierung Skandinaviens. Petersberg: Michael Imhof Verlag, 2013, pp. 340-341. KOLLANDSRUD, Kaja – “Polychrome Light in Medieval Norwegian Church Art (12th–13th Centuries)”. in KROESEN, Justin E. A.; SAUERBERG, Marie Louise; NYBORG, Ebbe (ed.) – From Conservation to Interpretation: Studies in Religious Art (c. 1100–c. 1800) in Northern and Central Europe in Honour of Peter Tångeberg. Leuven: Peeters verlag, 2017, pp. 57-82. KOLLANDSRUD, Kaja – Evoking the Divine: The Visual Vocabulary of Sacred Polychrome Wooden Sculpture in Norway between 1100 and 1350. Oslo: University of Oslo, 2018. Unpublished PhD thesis. KOLLANDSRUD, Kaja – “Between Heaven and Earth”. in BJERREGAARD, Peter (ed.) – Transformation: Faith and Sacred Objects in the Middle Ages. Trondheim: Museumsforlaget AS, 2018, pp. 68-71. KOLLANDSRUD, Kaja – “The Divine Communicated through Embodied Light in Medieval Sculpture in Norway”. Selected papers from the conference Science, Imagination, Wonder: Robert Grosseteste and his Legacy. Pembroke College, Oxford University, 3-5. April 2018. Brepols; due 2019. KOLLANDSRUD, Kaja; HUTH, Nadine – “Beyond the Precious with Painterly Effects: The Thirteenth Century Sculpted Frontal from Komnes, Buskerud in Norway”. in GRINDER-HANSEN, Poul (ed.) – Image and Altar 800-1300. Papers from an Inter­national Conference in Copenhagen 24-27 October. Copenhagen: PNM Publications from the National Museum Studies in Archaeology & History 2014, pp. 229-246. KUMLER, Aden; LAKEY, Christopher R. – “Res Et Significatio: The Material Sense of Things in the Middle Ages”. Gesta 51, 2012, pp. 1-17. LAMARK, Wenche G. H. – Tanum Kirkes Kalkmalerier. University of Oslo: Department of Art History, 2009. Master thesis. LINDBERG, Håkan – “Some Notes Regarding the Conservation of the Viklau Madonna (Gotland, Sweden)”. in KROESEN, Justin E. A.; SAUERBERG, Marie Louise; NYBORG, Ebbe (ed.) – From Conservation to Interpretation: Studies in Religious Art (c. 1100 – c. 1800) in Northern and Central Europe in Honour of Peter Tångeberg, Art and Religion 7, Peeters verlag, 2017, pp. 11-22. MERCIER, Emmanuelle; SANYOVA, Jana – “Art et techniques de la polychromie romane sur bois dans dans l’Europe du Nord”. in Les Cahiers de Saint-Michel de Cuxa XLIII, pp. 125-135. MORGAN, Nigel J. – “4 Dating, Styles and Groupings”. in HOHLER, Erla B.; MORGAN, Nigel J.; WICHSTRØM, Anne – Painted Altar Frontals of Norway, 1250-1350. Vol. 1: Artists, Styles and Iconographye. London: Archetype Publications, 2004, pp. 20-38. NADOLNY, Jilleen – “Some Observations on Northern European Metalbeaters and Metal Leaf in the Late Middle Ages”. in RUSHFIELD, Anne; BALLARD, Mary W. – Studies in the Honour of Lawrence J. Majewski on the Occasion of His 80th Birthday, February 10th 1999. New York: Conservation Center of the Institute of Fine Arts, 1999, pp. 134-160. NADOLNY, Jilleen – The Techniques and use of Gilded Relief Decoration by Northern European Painters, c. 1200-1500. London: University of London, 2001. Unpublished PhD thesis. NADOLNY, Jilleen – “All That is Burnished isn’t Bole. Reflections on Medieval Water Gilding: Part 1: Early Medieval to 1300”. in NADOLNY, Jilleen (ed.) – Medieval Painting in Northern Europe. Techniques, Analysis, Art History. London: Archetype, 2006, pp. 148-162. NADOLNY, Jilleen – “One Craft, many Names: Gilders, Preparers, and Polychrome Painters in the 15th and 16th Centuries.” in Art Technical Source Research. ICOM-CC, 2008, pp. 10-17. OLSTAD, Tone M. – “Madonna med barnet: konservering og restaurering av en polykrom treskulptur fra 1200-tallet i Vallset Kirke, Stange i Hedmark”, NIKU oppdragsmelding 27 (1996). PENTCHEVA, Bissera V. – The Sensual Icon: Space, Ritual, and the Sences in Byzantium. Pennsylvania: The Pennsylvania State University Press, 2010. PERCH-NIELSEN, Katharina von Salis; PLAHTER, Unn – “Analyses of Fossil Coccoliths in Chalk Grounds of Medieval Art in Norway”. in MALMANGER, Magne; BERCELLY, Lazlo; FUGLESANG, Signe (ed.) – Norwegian Medieval Frontals. Acta ad archaeologiam et artivm historiam pertinentia XI. Papers from the Conference in Oslo December 1989. Roma: Giorgia Bretschneider, 1995, pp. 145-156. PILZ, Elisabeth (ed.) – Byzantium and Islam in Scandinavia. Studies in Mediterranean Archaeology, vol. CXXVI. Jonsered: Paul Åströms förlag, 1998. PLAHTER, Leif E. – “Paint Analyses of the Crucifix from Eggedal”. Universitetets Oldsaksamlings årbok 1960-1961, 1963, pp. 94-108. PLAHTER, Unn – “Noen observasjoner i 1100-tallets bemaling sett i relasjon til antemensalemaleriet”. Paper presented at the Nordisk konservatorforbund’s 9. kongress, Oslo, 1981, pp. 71-78. PLAHTER, Unn – “Líkneskjusmíð: 14th-Century Instructions for Painting from Iceland”. in MALMANGER, Magne; BERCELLY, Laszlo; FUGLESANG, Signe (ed.) – Norwegian Medieval Altar Frontals and Related Material. Roma: Giorgio Bretschneider, 1995, pp. 157-72. PLAHTER, Unn – “A Survey of Pigments and Pigment application on 31 Norwegian Medieval Oil Paintings from the period 1250-1350”. in VONTOBEL, R. (ed.) – Preprints of the ICOM-CC 13th Triannial Meeting, Rio de Janeiro, 22-27. September. London: James and James Science Publishers Ltd., 2002, vol. 1, pp. 446-454. PLAHTER, Unn – Painted Altar Frontals of Norway, 1250-1350. Vol. 2: Materials and Technique. London: Archetype Publications, 2004. PLAHTER, Unn – “The Crucifix from Hemse: Analyses of the Painting Technique”. in NADOLNY, Jilleen (ed.) – Medieval Painting in Northern Europe. Techniques, Analysis, Art History. London: Archetype, 2006 (First printed 1984), pp. 11-20. PLAHTER, Unn – “Medieval Painting Materials and Techniques in Norway. To what extent did the Painters tempt to Simulate Goldsmith’s Work?”, Zeitschrift für Kunsttechnologie und Konservierung 24/1, 2010, pp. 160-169. PLAHTER, Unn – “The Trade in Painter's Materials in Norway in the Middle Ages. Part 2: Materials, Technique and Trade from the Twelfth Century to the Mid-Fourteenth Century”. in KIRBY, Jo; NASH, Susie; CANNON, Joanna (ed.) – Trade in Artist's Materials. Markets and Commerce in Europe to 1700. London: Archetype publisher, 2010, pp. 64-73. PLAHTER, Unn – “Norwegian Art Technology in the Twelfth and Thirteenth Centuries: Materials and Techniques in a European Context”. Zeitschrift für Kunsttechnologie und Konservierung 28/1 (2014), pp. 298-332. RICE, David Talbot – “The Britain and the Byzantine World in the Middle Ages”. in VOLBACH, Wolfgang Fritz (ed.) – Byzantine Art – A European Art. Lectures. Athen: Department of Antiquities and Archaeological Restoration, 1966, pp. 21-42. SCHARFFENBERG, Katrine – Kristus fra Fjell kirke, Østre Toten: Konstruksjon, maleteknikk og behandlingshistorikk. Unpublished treatment report, MCH 2006. SCHOLTKA, Annette – “Theophilus Presbyter – Die Maltechnischen Anweisungen und Ihre Gegenüberstellung mit Naturwissenschaftlichen Untersuchungsbefunden”. Zeitschrift für Kunsttechnologie und Konservierung, 6/1, 1992, pp. 44-45. SELSJORD, Marianne – “The ‘Golden Madonna’ from Dyste Church”. In Yearbook of the Historical Archives of Historical Art Technology. Technologia Artis. Prague: The Union of Czech Artists in collaboration with the Institute for Art history ^CSAV and the Academy of Fine Arts in Prague, 1993, pp. 113-116. SERCK-DEWAIDE, Myriam – “The History and conservation of the surface coating on European gilded-wood Objects”. in BIGELOW, D.; CORNU, E.; LANDREY, G. J.; VAN HORNE, C. (ed.) – Gilded Wood, Conservation and History. Sound View Press, Madison (CT), 1991, pp. 65-73. TAUBERT, Johannes – Polychrome Sculpture: Meaning, Form, Conservation. MARINCOLA, Michele D. (trans.). Getty Conservation Institute: Getty Publications, 2015. TÅNGEBERG, Peter – Holzskulptur Und Altarschrein. Studien Zu Form, Material Und Technik Mittelalterliche Plastik in Schweden. München: Georg D. W. Callwey, 1989. TÅNGEBERG, Peter – “The Crucifix from Hemse: Analyses of the Painting Technique”. in NADOLNY, Jilleen (ed.) – Medieval Painting in Northern Europe. Techniques, Analysis, Art History. London: Archetype, 2006 (First printed 1984), pp. 1-10. URBANEK, Regina – “Die Hovener Madonna – Bestand und Bewertung”, Zeitschrift für Kunsttechnologie und Konservierung 30/2, 2016, pp. 261-228. WHITE, Raymond – “Analyses of Norwegian Medieval Paint Media: A Preliminary Report”. in MALMANGER, Magne, BERCELLY, Laszlo and FUGLESANG, Signe (ed.) – Norwegian Medieval Altar Frontals and Related Material. Roma: Giorgio Bretschneider, 1995, pp. 127-136. WIIK, Svein – “Líkneskjusmíð. Medieval Polychrome Technique in Iceland”. Zeitschrift für Kunsttechnologie und Konservierung 9, 1995, pp. 327-336. WILLIAMSON, Beth – “Material Culture and Medieval Christianity”. in ARNOLD, John H. (ed.) – The Oxford Handbook of Medieval Christianity. Oxford, 2014. WILLIAMSSON, Paul – Gothic Sculpture 1140-1300, Pelican History of Art. New Haven and London: Yale University Press, 1995. WINFIELD, David C. – “Middle and later Byzantine Wall Painting Methods. A Comparative Study”. Dumbarton oaks Papers. Washington: Dumbarton Oaks Centre for Byzantine Studies, Trustees for Harvard University, 1968.O artigo foca-se em esculturas medievais de madeira dos séculos XII e XIII na Noruega, com policromia original preservada. A apresentação de materiais usados na construção, na pintura e na douradura baseiam-se na análise de materiais. A sua aplicação é discutida e comparada com casos do período imediatamente a seguir. As conclusões alcançadas relativamente às características deste período permitem a sugestão de investigação futura. Fica claro, a partir das evidências obtidas, que tanto a forma de fazer como a forma de percepcionar a arte da Igreja Católica na Noruega medieval estava firmemente enraizada numa cultura estabelecida que era consistente com os paradigmas cristãos encontrados no resto da Europa medieval. Os resultados analíticos do exame da escultura preservada na Noruega são, portanto, relevantes para um contexto europeu mais vasto. Até que ponto a escultura medieval foi importada para ou produzida na Noruega e por quem é uma discussão em aberto. Conhecer melhor as tradições escultóricas de uma área geográfica mais abrangente providenciará o contexto necessário para aperfeiçoarmos o entendimento que temos das trocas culturais do período medieval.   Referências bibliográficas Manuscritos BREPOHL, Erhard (transl.) – Theophilus Presbyter und das Mittelalterliche Kunsthandwerk: Gesamtausgabe der Schrift De Diversis Artibus in Zwei Bänden. Vol. 1: Malerei und Glas. Köln: Böhlau, 1999. BROECKE, Lara (transl.) – Cennino Cennini’s Il Libro Dell’arte. London: Archetype Publications, 2015. MS AM 194.8° in the Arnamagnæan Institute, University of Copenhagen. MS AM 685 d 4to in the Arnamagnæan Institute, University of Copenhagen. Fontes impressas BLINDHEIM, Martin – “Scandinavian Art and Its Relations to European Art around 1200”. in The Year 1200: A Symposium. New York:The Metropolitan Museum of Art, 1975, pp. 429-468. BLINDHEIM, Martin – Painted Wooden Sculpture in Norway c. 1100-1250, Medieval Art in Norway. Oslo: Scandinavian University Press, 1998. BLINDHEIM, Martin – Gothic Painted Wooden Sculpture in Norway 1220-1350. Oslo: Messel forlag, 2004. BOSSELMANN-RUICKBIE, Antje – “Contact between Byzantium and the West from the 9th to the 15th Century: Reflections in Goldsmiths’ Works and Enamels.” in DAIM, Falko; HEHER, Dominik; RAPP, Claudia (ed.) – Menschen, Bilder, Sprache, Dinge Wege der Kommunikation zwischen Byzanz und dem Westen 1: Bilder und Dinge. Studien zur Ausstellung ‘Byzanz & der Westen. 1000 vergessene Jahre’. Mainz: Verlag des Römisch-Germanischen Zentralmuseums, 2018, pp. 73-104. BRACHERT, Thomas – “Fassung von Bildwerken: Geschichte”. in Reallexicon zur deutschen Kunstgeschichte, vol. 7. München: Beck, 1981, pp. 793-798. BYNUM, Caroline Walker – Christian Materiality: An Essay on Religion in Late Medieval Europe. New York: Zone Books, 2011. EKROLL, Øystein – “Erkebiskop Eystein, Oktogonen i Kristkyrkja og Kristi Gravkyrkja i Jerusalem”. in BJØRLYKKE, Kristin et alii (ed.) – Eystein Erlendsson – Erkebiskop, politiker og kirkebygger. Trondheim: Nidaros domkirkes restaurerings­arbeiders forlag, 2012. ELKINS, James – “On Some Limits of Materiality in Art History,” in NEUNER, Stefan; GELSHORN, Julia (ed.) – Taktilität: Sinneserfahrung als Grenzerfahrung. Das Magazin des Instituts für Theorie 12, 2008, pp. 25-30. ENDEMANN, Klaus – “Zur Holzskulptur Des Frühen Mittelalters. Voraussetzungen und Funktion – Schnitztechnik und Fassung”, Zeitschrift für Kunsttechnologie und Konservierung 26/1, 2012, pp. 400-434. FRØYSAKER, Tine – “Den middelalderske Kristusfiguren fra Otterøy kirke, Namsos kommune i Nord-Trøndelag. Et konserveringsprosjekt”. NIKU Oppdragsmelding 023, Oslo, 1996. FRØYSAKER, Tine; KOLLANDSRUD, Kaja – “The Calvary Group in Urnes Stave Church, Norway: A Technological Examination”. in NADOLNY, Jilleen (ed.) – Medieval Painting in Northern Europe: Techniques, Analysis, Art History. London: Archetype, 2006, pp. 43-58. GARIPZANOV, Ildar – “Wandering Clerics and Mixed Rituals in the Early Christian North, c. 1000-1150”. The Journal of Ecclesiastical History 63/1, 2012, pp. 1-17. GJERTSEN, Randi – “Den korsfestede Kristus fra Skafså Kirke, Tokke Kommune i Telemark. Undersøkelser og konservering”. NIKU publikasjoner 123, 2002, pp. 1-34. HAASTRUP, Ulla – “Byzantisk klædte ærkeengle i danske fresker: Kombinationen af ærkeengle med Majestas Domini i 1. halvdel af 1100-tallet”, Nordic Review of Iconography 1, 2014, pp. 6-36. HALLDÓRSSON, Ólafur – “Líkneskjusmið”, Árbók hins íslenzka fornleifafélags 1973, 1974, pp. 5-17. HARVEY, Joshua; KOLLANDSRUD, Kaja; SMITHSON, Hannah – “Not all that Glitters: Probing Material Perception with a Physical Imitation-gold Stimulus”, AVA Christmas Meeting, Queen Mary University of London, December 18, 2017, Perception 47, 2018. HOHLER, Erla B.; MORGAN, Nigel J.; WICHSTRØM, Anne – Painted Altar Frontals of Norway, 1250-1350. vol. 1: Artists, Styles and Iconographye. London: Archetype Publications, 2004. JÄGER, Elisabeth – “Zur Polychromie der Kölner Skulptur vom 12.- Bis zum Ende des 14. Jahrhunderts”. in BERGMANN, U. (ed.) – Schnütgen-Museum. Holzskulpturen des Mittelalters, (1000-1400). Köln: Schnütgen-Museum, 1989, pp. 99-104. KALAND, Bjørn – “Baldakin Fra Hopperstad – Madonna Fra Hove”, Foreningen til norske fortidsminnesmerkers bevaring LIX. Oslo: Foreningen til norske fortidsminnesmerkers bevaring, 1973, pp. 1-14. KARGÈRE, Lucretia; RIZZO, Adriana – “Twelfth-Century French polychrome sculpture in The Metropolitan Museum of Art: Materials and Techniques”. Metropolitan Museum Studies in Art, Science, and Technology 1, 2010, pp. 39-72. KAUSLAND, Kristin – “Late Medieval Paintings in Norway – Materials, Techniques, Origins”. Zeischrift für Kunsttechnologie und Konservierung 31/1, 2016, pp. 47-66. KITZINGER, Ernst – “The Byzantine Contribution to Western Art of the Twelfth and Thirteenth Centuries”. Dumbarton Oaks Papers 20, 1966. KLOCKE, Jens; LEHMANN, Jirina – “Technik des Unterlegens von grobkörnigen Pigmenten: die Veneda des Theophilus”. Restauro 107/5, 2001, pp. 373-375. KOLLANDSRUD, Kaja – "Krusifiks fra Haug kirke Buskerud C nr. 3604: Undersøkelser og behandling." Varia 27, 1994. KOLLANDSRUD, Kaja – “Vasaris Theory of the Origins of Oil Painting and Its Influence on Cleaning Methods: The Ruined Polychromy of the Early Thirteenth Century Crucifix from Haug, Norway”. in LINDLEY, Phillip (ed.) – Sculpture Conservation: Preservation or Interference?, Liverpool: Scholar Press, Ashgate Publishing Company, 1997, pp. 139-149. KOLLANDSRUD, Kaja – “Technological Mapping of Norwegian Polychrome Wooden Sculpture, 1100-1350: a Preliminary Overview”. in HOFSETH, Ellen H. (ed.) UKM skrifter 1. Oslo: Universitetets kulturhistoriske museer, 2002, pp. 125-141. KOLLANDSRUD, Kaja – “340 Kruzifix aus Lunder”. in KROKER, Martin (ed.) – Credo. Christianisierung Europas im Mittelalter. Katalog Band II, VI Sterbende götter: Christianisierung Skandinaviens. Petersberg: Michael Imhof Verlag, 2013, pp. 340-341. KOLLANDSRUD, Kaja – “Polychrome Light in Medieval Norwegian Church Art (12th–13th Centuries)”. in KROESEN, Justin E. A.; SAUERBERG, Marie Louise; NYBORG, Ebbe (ed.) – From Conservation to Interpretation: Studies in Religious Art (c. 1100–c. 1800) in Northern and Central Europe in Honour of Peter Tångeberg. Leuven: Peeters verlag, 2017, pp. 57-82. KOLLANDSRUD, Kaja – Evoking the Divine: The Visual Vocabulary of Sacred Polychrome Wooden Sculpture in Norway between 1100 and 1350. Oslo: University of Oslo, 2018. Unpublished PhD thesis. KOLLANDSRUD, Kaja – “Between Heaven and Earth”. in BJERREGAARD, Peter (ed.) – Transformation: Faith and Sacred Objects in the Middle Ages. Trondheim: Museumsforlaget AS, 2018, pp. 68-71. KOLLANDSRUD, Kaja – “The Divine Communicated through Embodied Light in Medieval Sculpture in Norway”. Selected papers from the conference Science, Imagination, Wonder: Robert Grosseteste and his Legacy. Pembroke College, Oxford University, 3-5. April 2018. Brepols; due 2019. KOLLANDSRUD, Kaja; HUTH, Nadine – “Beyond the Precious with Painterly Effects: The Thirteenth Century Sculpted Frontal from Komnes, Buskerud in Norway”. in GRINDER-HANSEN, Poul (ed.) – Image and Altar 800-1300. Papers from an Inter­national Conference in Copenhagen 24-27 October. Copenhagen: PNM Publications from the National Museum Studies in Archaeology & History 2014, pp. 229-246. KUMLER, Aden; LAKEY, Christopher R. – “Res Et Significatio: The Material Sense of Things in the Middle Ages”. Gesta 51, 2012, pp. 1-17. LAMARK, Wenche G. H. – Tanum Kirkes Kalkmalerier. University of Oslo: Department of Art History, 2009. Master thesis. LINDBERG, Håkan – “Some Notes Regarding the Conservation of the Viklau Madonna (Gotland, Sweden)”. in KROESEN, Justin E. A.; SAUERBERG, Marie Louise; NYBORG, Ebbe (ed.) – From Conservation to Interpretation: Studies in Religious Art (c. 1100 – c. 1800) in Northern and Central Europe in Honour of Peter Tångeberg, Art and Religion 7, Peeters verlag, 2017, pp. 11-22. MERCIER, Emmanuelle; SANYOVA, Jana – “Art et techniques de la polychromie romane sur bois dans dans l’Europe du Nord”. in Les Cahiers de Saint-Michel de Cuxa XLIII, pp. 125-135. MORGAN, Nigel J. – “4 Dating, Styles and Groupings”. in HOHLER, Erla B.; MORGAN, Nigel J.; WICHSTRØM, Anne – Painted Altar Frontals of Norway, 1250-1350. Vol. 1: Artists, Styles and Iconographye. London: Archetype Publications, 2004, pp. 20-38. NADOLNY, Jilleen – “Some Observations on Northern European Metalbeaters and Metal Leaf in the Late Middle Ages”. in RUSHFIELD, Anne; BALLARD, Mary W. – Studies in the Honour of Lawrence J. Majewski on the Occasion of His 80th Birthday, February 10th 1999. New York: Conservation Center of the Institute of Fine Arts, 1999, pp. 134-160. NADOLNY, Jilleen – The Techniques and use of Gilded Relief Decoration by Northern European Painters, c. 1200-1500. London: University of London, 2001. Unpublished PhD thesis. NADOLNY, Jilleen – “All That is Burnished isn’t Bole. Reflections on Medieval Water Gilding: Part 1: Early Medieval to 1300”. in NADOLNY, Jilleen (ed.) – Medieval Painting in Northern Europe. Techniques, Analysis, Art History. London: Archetype, 2006, pp. 148-162. NADOLNY, Jilleen – “One Craft, many Names: Gilders, Preparers, and Polychrome Painters in the 15th and 16th Centuries.” in Art Technical Source Research. ICOM-CC, 2008, pp. 10-17. OLSTAD, Tone M. – “Madonna med barnet: konservering og restaurering av en polykrom treskulptur fra 1200-tallet i Vallset Kirke, Stange i Hedmark”, NIKU oppdragsmelding 27 (1996). PENTCHEVA, Bissera V. – The Sensual Icon: Space, Ritual, and the Sences in Byzantium. Pennsylvania: The Pennsylvania State University Press, 2010. PERCH-NIELSEN, Katharina von Salis; PLAHTER, Unn – “Analyses of Fossil Coccoliths in Chalk Grounds of Medieval Art in Norway”. in MALMANGER, Magne; BERCELLY, Lazlo; FUGLESANG, Signe (ed.) – Norwegian Medieval Frontals. Acta ad archaeologiam et artivm historiam pertinentia XI. Papers from the Conference in Oslo December 1989. Roma: Giorgia Bretschneider, 1995, pp. 145-156. PILZ, Elisabeth (ed.) – Byzantium and Islam in Scandinavia. Studies in Mediterranean Archaeology, vol. CXXVI. Jonsered: Paul Åströms förlag, 1998. PLAHTER, Leif E. – “Paint Analyses of the Crucifix from Eggedal”. Universitetets Oldsaksamlings årbok 1960-1961, 1963, pp. 94-108. PLAHTER, Unn – “Noen observasjoner i 1100-tallets bemaling sett i relasjon til antemensalemaleriet”. Paper presented at the Nordisk konservatorforbund’s 9. kongress, Oslo, 1981, pp. 71-78. PLAHTER, Unn – “Líkneskjusmíð: 14th-Century Instructions for Painting from Iceland”. in MALMANGER, Magne; BERCELLY, Laszlo; FUGLESANG, Signe (ed.) – Norwegian Medieval Altar Frontals and Related Material. Roma: Giorgio Bretschneider, 1995, pp. 157-72. PLAHTER, Unn – “A Survey of Pigments and Pigment application on 31 Norwegian Medieval Oil Paintings from the period 1250-1350”. in VONTOBEL, R. (ed.) – Preprints of the ICOM-CC 13th Triannial Meeting, Rio de Janeiro, 22-27. September. London: James and James Science Publishers Ltd., 2002, vol. 1, pp. 446-454. PLAHTER, Unn – Painted Altar Frontals of Norway, 1250-1350. Vol. 2: Materials and Technique. London: Archetype Publications, 2004. PLAHTER, Unn – “The Crucifix from Hemse: Analyses of the Painting Technique”. in NADOLNY, Jilleen (ed.) – Medieval Painting in Northern Europe. Techniques, Analysis, Art History. London: Archetype, 2006 (First printed 1984), pp. 11-20. PLAHTER, Unn – “Medieval Painting Materials and Techniques in Norway. To what extent did the Painters tempt to Simulate Goldsmith’s Work?”, Zeitschrift für Kunsttechnologie und Konservierung 24/1, 2010, pp. 160-169. PLAHTER, Unn – “The Trade in Painter's Materials in Norway in the Middle Ages. Part 2: Materials, Technique and Trade from the Twelfth Century to the Mid-Fourteenth Century”. in KIRBY, Jo; NASH, Susie; CANNON, Joanna (ed.) – Trade in Artist's Materials. Markets and Commerce in Europe to 1700. London: Archetype publisher, 2010, pp. 64-73. PLAHTER, Unn – “Norwegian Art Technology in the Twelfth and Thirteenth Centuries: Materials and Techniques in a European Context”. Zeitschrift für Kunsttechnologie und Konservierung 28/1 (2014), pp. 298-332. RICE, David Talbot – “The Britain and the Byzantine World in the Middle Ages”. in VOLBACH, Wolfgang Fritz (ed.) – Byzantine Art – A European Art. Lectures. Athen: Department of Antiquities and Archaeological Restoration, 1966, pp. 21-42. SCHARFFENBERG, Katrine – Kristus fra Fjell kirke, Østre Toten: Konstruksjon, maleteknikk og behandlingshistorikk. Unpublished treatment report, MCH 2006. SCHOLTKA, Annette – “Theophilus Presbyter – Die Maltechnischen Anweisungen und Ihre Gegenüberstellung mit Naturwissenschaftlichen Untersuchungsbefunden”. Zeitschrift für Kunsttechnologie und Konservierung, 6/1, 1992, pp. 44-45. SELSJORD, Marianne – “The ‘Golden Madonna’ from Dyste Church”. In Yearbook of the Historical Archives of Historical Art Technology. Technologia Artis. Prague: The Union of Czech Artists in collaboration with the Institute for Art history ^CSAV and the Academy of Fine Arts in Prague, 1993, pp. 113-116. SERCK-DEWAIDE, Myriam – “The History and conservation of the surface coating on European gilded-wood Objects”. in BIGELOW, D.; CORNU, E.; LANDREY, G. J.; VAN HORNE, C. (ed.) – Gilded Wood, Conservation and History. Sound View Press, Madison (CT), 1991, pp. 65-73. TAUBERT, Johannes – Polychrome Sculpture: Meaning, Form, Conservation. MARINCOLA, Michele D. (trans.). Getty Conservation Institute: Getty Publications, 2015. TÅNGEBERG, Peter – Holzskulptur Und Altarschrein. Studien Zu Form, Material Und Technik Mittelalterliche Plastik in Schweden. München: Georg D. W. Callwey, 1989. TÅNGEBERG, Peter – “The Crucifix from Hemse: Analyses of the Painting Technique”. in NADOLNY, Jilleen (ed.) – Medieval Painting in Northern Europe. Techniques, Analysis, Art History. London: Archetype, 2006 (First printed 1984), pp. 1-10. URBANEK, Regina – “Die Hovener Madonna – Bestand und Bewertung”, Zeitschrift für Kunsttechnologie und Konservierung 30/2, 2016, pp. 261-228. WHITE, Raymond – “Analyses of Norwegian Medieval Paint Media: A Preliminary Report”. in MALMANGER, Magne, BERCELLY, Laszlo and FUGLESANG, Signe (ed.) – Norwegian Medieval Altar Frontals and Related Material. Roma: Giorgio Bretschneider, 1995, pp. 127-136. WIIK, Svein – “Líkneskjusmíð. Medieval Polychrome Technique in Iceland”. Zeitschrift für Kunsttechnologie und Konservierung 9, 1995, pp. 327-336. WILLIAMSON, Beth – “Material Culture and Medieval Christianity”. in ARNOLD, John H. (ed.) – The Oxford Handbook of Medieval Christianity. Oxford, 2014. WILLIAMSSON, Paul – Gothic Sculpture 1140-1300, Pelican History of Art. New Haven and London: Yale University Press, 1995. WINFIELD, David C. – “Middle and later Byzantine Wall Painting Methods. A Comparative Study”. Dumbarton oaks Papers. Washington: Dumbarton Oaks Centre for Byzantine Studies, Trustees for Harvard University, 1968.IEM - Instituto de Estudos Medievais2019-07-01info:eu-repo/semantics/publishedVersioninfo:eu-repo/semantics/articleapplication/pdfhttps://doi.org/10.4000/medievalista.2303https://doi.org/10.4000/medievalista.2303Medievalista; No 26 (2019): Medievalista - "Medieval Europe in Motion. The Middle Ages: a Global Context” Thematic DossierMedievalista; No 26 (2019): Medievalista - Dossier thématique "Medieval Europe in Motion. The Middle Ages: a Global Context"Medievalista; n. 26 (2019): Medievalista - Dossier Temático "Medieval Europe in Motion. The Middle Ages: a Global Context”1646-740Xreponame:Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos)instname:Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informaçãoinstacron:RCAAPenghttps://medievalista.iem.fcsh.unl.pt/index.php/medievalista/article/view/64https://medievalista.iem.fcsh.unl.pt/index.php/medievalista/article/view/64/50Direitos de Autor (c) 2019 Medievalistainfo:eu-repo/semantics/openAccessKollandsrud, KajaPlahter, Unn2023-03-28T12:32:05Zoai:ojs2.medteste.fcsh.unl.pt:article/64Portal AgregadorONGhttps://www.rcaap.pt/oai/openaireopendoar:71602024-03-19T17:46:44.985336Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) - Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informaçãofalse
dc.title.none.fl_str_mv Twelfth and early thirteenth century polychromy at the northernmost edge of Europe: past analyses and future research
Policromia nos séculos XII e início de XIII no extremo norte da Europa: análises passadas e pesquisa futura
title Twelfth and early thirteenth century polychromy at the northernmost edge of Europe: past analyses and future research
spellingShingle Twelfth and early thirteenth century polychromy at the northernmost edge of Europe: past analyses and future research
Kollandsrud, Kaja
Polychromy, Sculpture, Materiality, Painting technology, Medieval
Policromia, Escultura, Materialidade, Tecnologia de pintura, Medieval
title_short Twelfth and early thirteenth century polychromy at the northernmost edge of Europe: past analyses and future research
title_full Twelfth and early thirteenth century polychromy at the northernmost edge of Europe: past analyses and future research
title_fullStr Twelfth and early thirteenth century polychromy at the northernmost edge of Europe: past analyses and future research
title_full_unstemmed Twelfth and early thirteenth century polychromy at the northernmost edge of Europe: past analyses and future research
title_sort Twelfth and early thirteenth century polychromy at the northernmost edge of Europe: past analyses and future research
author Kollandsrud, Kaja
author_facet Kollandsrud, Kaja
Plahter, Unn
author_role author
author2 Plahter, Unn
author2_role author
dc.contributor.author.fl_str_mv Kollandsrud, Kaja
Plahter, Unn
dc.subject.por.fl_str_mv Polychromy, Sculpture, Materiality, Painting technology, Medieval
Policromia, Escultura, Materialidade, Tecnologia de pintura, Medieval
topic Polychromy, Sculpture, Materiality, Painting technology, Medieval
Policromia, Escultura, Materialidade, Tecnologia de pintura, Medieval
description The paper focuses on medieval wooden sculptures in the 12th and early 13th century in Norway, with preserved original polychromy. The presentation of materials used in the construction, the painting and gilding are based on material analyses. Their application is discussed and compared to those produced in the period that immediately follows. Conclusions reached about the characteristics of this period allow future research to be suggested.It is clear from the evidence gained that both the making and the perception of Catholic church art in medieval Norway was firmly rooted in an established culture consistent with Christian paradigms found in the rest of medieval Europe. The analytical results from the examination of sculpture preserved in Norway are therefore relevant to a wider European context. To what extent medieval sculpture was imported or produced in Norway and by whom is an ongoing discussion. A better knowledge of the sculptural traditions of a wider geographical area will provide the context required to improve our understanding of the cultural exchanges of the medieval period.   Bibliography Manuscripts BREPOHL, Erhard (transl.) – Theophilus Presbyter und das Mittelalterliche Kunsthandwerk: Gesamtausgabe der Schrift De Diversis Artibus in Zwei Bänden. Vol. 1: Malerei und Glas. Köln: Böhlau, 1999. BROECKE, Lara (transl.) – Cennino Cennini’s Il Libro Dell’arte. London: Archetype Publications, 2015. MS AM 194.8° in the Arnamagnæan Institute, University of Copenhagen. MS AM 685 d 4to in the Arnamagnæan Institute, University of Copenhagen. Printed sources BLINDHEIM, Martin – “Scandinavian Art and Its Relations to European Art around 1200”. in The Year 1200: A Symposium. New York:The Metropolitan Museum of Art, 1975, pp. 429-468. BLINDHEIM, Martin – Painted Wooden Sculpture in Norway c. 1100-1250, Medieval Art in Norway. Oslo: Scandinavian University Press, 1998. BLINDHEIM, Martin – Gothic Painted Wooden Sculpture in Norway 1220-1350. Oslo: Messel forlag, 2004. BOSSELMANN-RUICKBIE, Antje – “Contact between Byzantium and the West from the 9th to the 15th Century: Reflections in Goldsmiths’ Works and Enamels.” in DAIM, Falko; HEHER, Dominik; RAPP, Claudia (ed.) – Menschen, Bilder, Sprache, Dinge Wege der Kommunikation zwischen Byzanz und dem Westen 1: Bilder und Dinge. Studien zur Ausstellung ‘Byzanz & der Westen. 1000 vergessene Jahre’. Mainz: Verlag des Römisch-Germanischen Zentralmuseums, 2018, pp. 73-104. BRACHERT, Thomas – “Fassung von Bildwerken: Geschichte”. in Reallexicon zur deutschen Kunstgeschichte, vol. 7. München: Beck, 1981, pp. 793-798. BYNUM, Caroline Walker – Christian Materiality: An Essay on Religion in Late Medieval Europe. New York: Zone Books, 2011. EKROLL, Øystein – “Erkebiskop Eystein, Oktogonen i Kristkyrkja og Kristi Gravkyrkja i Jerusalem”. in BJØRLYKKE, Kristin et alii (ed.) – Eystein Erlendsson – Erkebiskop, politiker og kirkebygger. Trondheim: Nidaros domkirkes restaurerings­arbeiders forlag, 2012. ELKINS, James – “On Some Limits of Materiality in Art History,” in NEUNER, Stefan; GELSHORN, Julia (ed.) – Taktilität: Sinneserfahrung als Grenzerfahrung. Das Magazin des Instituts für Theorie 12, 2008, pp. 25-30. ENDEMANN, Klaus – “Zur Holzskulptur Des Frühen Mittelalters. Voraussetzungen und Funktion – Schnitztechnik und Fassung”, Zeitschrift für Kunsttechnologie und Konservierung 26/1, 2012, pp. 400-434. FRØYSAKER, Tine – “Den middelalderske Kristusfiguren fra Otterøy kirke, Namsos kommune i Nord-Trøndelag. Et konserveringsprosjekt”. NIKU Oppdragsmelding 023, Oslo, 1996. 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HARVEY, Joshua; KOLLANDSRUD, Kaja; SMITHSON, Hannah – “Not all that Glitters: Probing Material Perception with a Physical Imitation-gold Stimulus”, AVA Christmas Meeting, Queen Mary University of London, December 18, 2017, Perception 47, 2018. HOHLER, Erla B.; MORGAN, Nigel J.; WICHSTRØM, Anne – Painted Altar Frontals of Norway, 1250-1350. vol. 1: Artists, Styles and Iconographye. London: Archetype Publications, 2004. JÄGER, Elisabeth – “Zur Polychromie der Kölner Skulptur vom 12.- Bis zum Ende des 14. Jahrhunderts”. in BERGMANN, U. (ed.) – Schnütgen-Museum. Holzskulpturen des Mittelalters, (1000-1400). Köln: Schnütgen-Museum, 1989, pp. 99-104. KALAND, Bjørn – “Baldakin Fra Hopperstad – Madonna Fra Hove”, Foreningen til norske fortidsminnesmerkers bevaring LIX. Oslo: Foreningen til norske fortidsminnesmerkers bevaring, 1973, pp. 1-14. KARGÈRE, Lucretia; RIZZO, Adriana – “Twelfth-Century French polychrome sculpture in The Metropolitan Museum of Art: Materials and Techniques”. Metropolitan Museum Studies in Art, Science, and Technology 1, 2010, pp. 39-72. KAUSLAND, Kristin – “Late Medieval Paintings in Norway – Materials, Techniques, Origins”. Zeischrift für Kunsttechnologie und Konservierung 31/1, 2016, pp. 47-66. KITZINGER, Ernst – “The Byzantine Contribution to Western Art of the Twelfth and Thirteenth Centuries”. Dumbarton Oaks Papers 20, 1966. KLOCKE, Jens; LEHMANN, Jirina – “Technik des Unterlegens von grobkörnigen Pigmenten: die Veneda des Theophilus”. Restauro 107/5, 2001, pp. 373-375. KOLLANDSRUD, Kaja – "Krusifiks fra Haug kirke Buskerud C nr. 3604: Undersøkelser og behandling." Varia 27, 1994. KOLLANDSRUD, Kaja – “Vasaris Theory of the Origins of Oil Painting and Its Influence on Cleaning Methods: The Ruined Polychromy of the Early Thirteenth Century Crucifix from Haug, Norway”. in LINDLEY, Phillip (ed.) – Sculpture Conservation: Preservation or Interference?, Liverpool: Scholar Press, Ashgate Publishing Company, 1997, pp. 139-149. KOLLANDSRUD, Kaja – “Technological Mapping of Norwegian Polychrome Wooden Sculpture, 1100-1350: a Preliminary Overview”. in HOFSETH, Ellen H. (ed.) UKM skrifter 1. Oslo: Universitetets kulturhistoriske museer, 2002, pp. 125-141. KOLLANDSRUD, Kaja – “340 Kruzifix aus Lunder”. in KROKER, Martin (ed.) – Credo. Christianisierung Europas im Mittelalter. Katalog Band II, VI Sterbende götter: Christianisierung Skandinaviens. Petersberg: Michael Imhof Verlag, 2013, pp. 340-341. KOLLANDSRUD, Kaja – “Polychrome Light in Medieval Norwegian Church Art (12th–13th Centuries)”. in KROESEN, Justin E. A.; SAUERBERG, Marie Louise; NYBORG, Ebbe (ed.) – From Conservation to Interpretation: Studies in Religious Art (c. 1100–c. 1800) in Northern and Central Europe in Honour of Peter Tångeberg. Leuven: Peeters verlag, 2017, pp. 57-82. KOLLANDSRUD, Kaja – Evoking the Divine: The Visual Vocabulary of Sacred Polychrome Wooden Sculpture in Norway between 1100 and 1350. Oslo: University of Oslo, 2018. Unpublished PhD thesis. KOLLANDSRUD, Kaja – “Between Heaven and Earth”. in BJERREGAARD, Peter (ed.) – Transformation: Faith and Sacred Objects in the Middle Ages. Trondheim: Museumsforlaget AS, 2018, pp. 68-71. KOLLANDSRUD, Kaja – “The Divine Communicated through Embodied Light in Medieval Sculpture in Norway”. Selected papers from the conference Science, Imagination, Wonder: Robert Grosseteste and his Legacy. Pembroke College, Oxford University, 3-5. April 2018. Brepols; due 2019. 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A.; SAUERBERG, Marie Louise; NYBORG, Ebbe (ed.) – From Conservation to Interpretation: Studies in Religious Art (c. 1100 – c. 1800) in Northern and Central Europe in Honour of Peter Tångeberg, Art and Religion 7, Peeters verlag, 2017, pp. 11-22. MERCIER, Emmanuelle; SANYOVA, Jana – “Art et techniques de la polychromie romane sur bois dans dans l’Europe du Nord”. in Les Cahiers de Saint-Michel de Cuxa XLIII, pp. 125-135. MORGAN, Nigel J. – “4 Dating, Styles and Groupings”. in HOHLER, Erla B.; MORGAN, Nigel J.; WICHSTRØM, Anne – Painted Altar Frontals of Norway, 1250-1350. Vol. 1: Artists, Styles and Iconographye. London: Archetype Publications, 2004, pp. 20-38. NADOLNY, Jilleen – “Some Observations on Northern European Metalbeaters and Metal Leaf in the Late Middle Ages”. in RUSHFIELD, Anne; BALLARD, Mary W. – Studies in the Honour of Lawrence J. Majewski on the Occasion of His 80th Birthday, February 10th 1999. New York: Conservation Center of the Institute of Fine Arts, 1999, pp. 134-160. NADOLNY, Jilleen – The Techniques and use of Gilded Relief Decoration by Northern European Painters, c. 1200-1500. London: University of London, 2001. Unpublished PhD thesis. NADOLNY, Jilleen – “All That is Burnished isn’t Bole. Reflections on Medieval Water Gilding: Part 1: Early Medieval to 1300”. in NADOLNY, Jilleen (ed.) – Medieval Painting in Northern Europe. Techniques, Analysis, Art History. London: Archetype, 2006, pp. 148-162. NADOLNY, Jilleen – “One Craft, many Names: Gilders, Preparers, and Polychrome Painters in the 15th and 16th Centuries.” in Art Technical Source Research. ICOM-CC, 2008, pp. 10-17. OLSTAD, Tone M. – “Madonna med barnet: konservering og restaurering av en polykrom treskulptur fra 1200-tallet i Vallset Kirke, Stange i Hedmark”, NIKU oppdragsmelding 27 (1996). PENTCHEVA, Bissera V. – The Sensual Icon: Space, Ritual, and the Sences in Byzantium. Pennsylvania: The Pennsylvania State University Press, 2010. PERCH-NIELSEN, Katharina von Salis; PLAHTER, Unn – “Analyses of Fossil Coccoliths in Chalk Grounds of Medieval Art in Norway”. in MALMANGER, Magne; BERCELLY, Lazlo; FUGLESANG, Signe (ed.) – Norwegian Medieval Frontals. Acta ad archaeologiam et artivm historiam pertinentia XI. Papers from the Conference in Oslo December 1989. Roma: Giorgia Bretschneider, 1995, pp. 145-156. PILZ, Elisabeth (ed.) – Byzantium and Islam in Scandinavia. Studies in Mediterranean Archaeology, vol. CXXVI. Jonsered: Paul Åströms förlag, 1998. PLAHTER, Leif E. – “Paint Analyses of the Crucifix from Eggedal”. Universitetets Oldsaksamlings årbok 1960-1961, 1963, pp. 94-108. PLAHTER, Unn – “Noen observasjoner i 1100-tallets bemaling sett i relasjon til antemensalemaleriet”. Paper presented at the Nordisk konservatorforbund’s 9. kongress, Oslo, 1981, pp. 71-78. 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To what extent did the Painters tempt to Simulate Goldsmith’s Work?”, Zeitschrift für Kunsttechnologie und Konservierung 24/1, 2010, pp. 160-169. PLAHTER, Unn – “The Trade in Painter's Materials in Norway in the Middle Ages. Part 2: Materials, Technique and Trade from the Twelfth Century to the Mid-Fourteenth Century”. in KIRBY, Jo; NASH, Susie; CANNON, Joanna (ed.) – Trade in Artist's Materials. Markets and Commerce in Europe to 1700. London: Archetype publisher, 2010, pp. 64-73. PLAHTER, Unn – “Norwegian Art Technology in the Twelfth and Thirteenth Centuries: Materials and Techniques in a European Context”. Zeitschrift für Kunsttechnologie und Konservierung 28/1 (2014), pp. 298-332. RICE, David Talbot – “The Britain and the Byzantine World in the Middle Ages”. in VOLBACH, Wolfgang Fritz (ed.) – Byzantine Art – A European Art. Lectures. Athen: Department of Antiquities and Archaeological Restoration, 1966, pp. 21-42. 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Medieval Polychrome Technique in Iceland”. Zeitschrift für Kunsttechnologie und Konservierung 9, 1995, pp. 327-336. WILLIAMSON, Beth – “Material Culture and Medieval Christianity”. in ARNOLD, John H. (ed.) – The Oxford Handbook of Medieval Christianity. Oxford, 2014. WILLIAMSSON, Paul – Gothic Sculpture 1140-1300, Pelican History of Art. New Haven and London: Yale University Press, 1995. WINFIELD, David C. – “Middle and later Byzantine Wall Painting Methods. A Comparative Study”. Dumbarton oaks Papers. Washington: Dumbarton Oaks Centre for Byzantine Studies, Trustees for Harvard University, 1968.
publishDate 2019
dc.date.none.fl_str_mv 2019-07-01
dc.type.status.fl_str_mv info:eu-repo/semantics/publishedVersion
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dc.identifier.uri.fl_str_mv https://doi.org/10.4000/medievalista.2303
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url https://doi.org/10.4000/medievalista.2303
dc.language.iso.fl_str_mv eng
language eng
dc.relation.none.fl_str_mv https://medievalista.iem.fcsh.unl.pt/index.php/medievalista/article/view/64
https://medievalista.iem.fcsh.unl.pt/index.php/medievalista/article/view/64/50
dc.rights.driver.fl_str_mv Direitos de Autor (c) 2019 Medievalista
info:eu-repo/semantics/openAccess
rights_invalid_str_mv Direitos de Autor (c) 2019 Medievalista
eu_rights_str_mv openAccess
dc.format.none.fl_str_mv application/pdf
dc.publisher.none.fl_str_mv IEM - Instituto de Estudos Medievais
publisher.none.fl_str_mv IEM - Instituto de Estudos Medievais
dc.source.none.fl_str_mv Medievalista; No 26 (2019): Medievalista - "Medieval Europe in Motion. The Middle Ages: a Global Context” Thematic Dossier
Medievalista; No 26 (2019): Medievalista - Dossier thématique "Medieval Europe in Motion. The Middle Ages: a Global Context"
Medievalista; n. 26 (2019): Medievalista - Dossier Temático "Medieval Europe in Motion. The Middle Ages: a Global Context”
1646-740X
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