The detail out of sight: the towers of Rouen’s Cathedral
| Autor(a) principal: | |
|---|---|
| Data de Publicação: | 2022 |
| Tipo de documento: | Artigo |
| Idioma: | por |
| Título da fonte: | Palíndromo (Online) |
| Texto Completo: | https://www.revistas.udesc.br/index.php/palindromo/article/view/21600 |
Resumo: | The detail can assume several dimensions, between particularities, parts in a whole, fragments, minimal, marginal and liminal elements, to the character of an autonomous, symbolic, and a significant element, a modifying device, even a random or insignificant occurrence or, on the contrary, a formal overstatement. The term detail has an extraordinary polysemy, applying to a great kind of situations, therefore details, in the context of the history of art and aesthetics, will not all be the same, in terms of discourse, intention, meaning and character; they will not arise for the same reasons; won’t have the same expressive force, nor should be read according to generalist models of interpretation. The complexion of the detail hinders the objectivity and fluidity of the analysis, and, above all, the construction of clean and finished narratives. Studying the detail can, by all means, constitute by itself a labour that originates fragmentary speeches. After a theoretical introduction regarding the detail, in the density of its dimensions, we will analyse the case of the order of the three towers of Rouen's cathedral (Normandy, France): the Saint-Romain, the Manteiga, and the idealization of the spire over the cruise tower. The towers were criticized by the incumbents due to their excessive detail and the meticulous and time-consuming cutting of the stone for works out of sight. The last work, considered the pinnacle of detail, would never be built. The unresolved issue is related to the just reasons for the harsh criticisms from the cathedral chapter which lead to the resistance undertaken by the artists, who defended the detail even at the risk of their work. |
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The detail out of sight: the towers of Rouen’s CathedralEl detalle fuera de la vista: las torres de la Catedral de RouenO detalhe fora da vista: as torres da Catedral de RuãoDetalheEsculturaRuãoCatedralInvisibilidadeHistória da Arte.DetailSculptureRouenCathedralInvisibilityDetalleEsculturaRouenCatedralInvisibilidadThe detail can assume several dimensions, between particularities, parts in a whole, fragments, minimal, marginal and liminal elements, to the character of an autonomous, symbolic, and a significant element, a modifying device, even a random or insignificant occurrence or, on the contrary, a formal overstatement. The term detail has an extraordinary polysemy, applying to a great kind of situations, therefore details, in the context of the history of art and aesthetics, will not all be the same, in terms of discourse, intention, meaning and character; they will not arise for the same reasons; won’t have the same expressive force, nor should be read according to generalist models of interpretation. The complexion of the detail hinders the objectivity and fluidity of the analysis, and, above all, the construction of clean and finished narratives. Studying the detail can, by all means, constitute by itself a labour that originates fragmentary speeches. After a theoretical introduction regarding the detail, in the density of its dimensions, we will analyse the case of the order of the three towers of Rouen's cathedral (Normandy, France): the Saint-Romain, the Manteiga, and the idealization of the spire over the cruise tower. The towers were criticized by the incumbents due to their excessive detail and the meticulous and time-consuming cutting of the stone for works out of sight. The last work, considered the pinnacle of detail, would never be built. The unresolved issue is related to the just reasons for the harsh criticisms from the cathedral chapter which lead to the resistance undertaken by the artists, who defended the detail even at the risk of their work.El detalle puede asumir varias dimensiones, entre el pormenor, una parte en un todo, un fragmento, un elemento mínimo, marginal, liminal, pasando por el carácter de elemento autónomo, simbólico, significativo, un dispositivo modificador, incluso una casualidad, o insignificancia o, al mismo tiempo, y por el contrario, de una exageración formal. El nombre detalle tiene una polisemia extraordinaria, aplicándose a una amplia gama de situaciones, por lo que los detalles, en el contexto de la historia del arte y de la estética, no serán todos iguales, en cuanto discurso, intención, significado y carácter, no surgirán por las mismas razones, no tendrán la misma fuerza expresiva, ni deberán leerse según modelos generalistas de interpretación. La complexión del detalle dificulta la objetividad y fluidez del análisis y, sobre todo, la construcción de narraciones limpias y acabadas. Estudiar el detalle puede, por supuesto, constituirse en una tarea que origina discursos fragmentarios. Tras una introducción teórica sobre el detalle, en el espesor de sus dimensiones, se presenta en este estudio el caso del encargo de las tres torres de la Catedral de Rouen (Normandía, Francia): la torre de Saint-Romain, la torre de Manteiga y la idealización del pináculo sobre la torre del crucero. Estos edificios fueron criticados por la encomienda debido al excesivo detalle y al laborioso y minucioso corte de la piedra para obras que ficaron fuera de la vista. El último trabajo, considerado el apogeo del detalle, no se realizaría. La cuestión pendiente se relaciona con las justas razones que llevaron a las duras críticas de los clientes y a la resistencia emprendida por los artistas, defendiendo el detalle y haciendo peligrar sus trabajos.O detalhe pode assumir várias dimensões, entre o pormenor, uma parte num todo, um fragmento, elemento mínimo, marginal, liminar, passando pelo carácter de elemento autónomo, simbólico, significante, dispositivo modificador, até de um acaso, ou insignificância ou, pelo contrário, de um exagero formal. O nome detalhe reveste-se de uma extraordinária polissemia, aplicando-se a um vasto conjunto de situações, pelo que os detalhes, no contexto da história da arte e da estética, não serão todos iguais, no que cumpre ao discurso, intenção, significação e carácter, não surgirão pelos mesmos motivos, não possuem a mesma força expressiva, nem devem ler-se segundo modelos de interpretação generalistas. A compleição do detalhe dificulta a objectividade e a fluidez da análise, e, sobretudo, a construção de narrativas limpas e acabadas. Estudar o detalhe pode, por tudo, constituir-se como uma tarefa que origina discursos fragmentários. Depois de uma introdução teórica ao detalhe, na espessura das suas dimensões, traz-se à colação o caso das encomendas das três torres da Catedral de Ruão (Normandia, França): a torre de Saint-Romain, a torre da Manteiga, e a idealização do pináculo sobre a torre do cruzeiro. Estas edificações foram criticadas pela encomenda devido ao detalhe excessivo e ao talhe demorado e minucioso da pedra para obras fora da vista. O último trabalho, tido como o apogeu do detalhe, não chegaria a edificar-se. A questão por resolver relaciona-se com os justos motivos que levaram às duras críticas dos comitentes e com a resistência empreendida pelos artistas, defendendo o detalhe mesmo perigando os seus trabalhos.Universidade do Estado de Santa Catarina2022-05-01info:eu-repo/semantics/articleinfo:eu-repo/semantics/publishedVersionapplication/pdfhttps://www.revistas.udesc.br/index.php/palindromo/article/view/2160010.5965/2175234614332022014Palíndromo; Vol. 14 No. 33 (2022): A questão do detalhe na história da arte; 14-42Palíndromo; v. 14 n. 33 (2022): A questão do detalhe na história da arte; 14-422175-23461984-9532reponame:Palíndromo (Online)instname:Universidade do Estado de Santa Catarina (UDESC)instacron:UDESCporhttps://www.revistas.udesc.br/index.php/palindromo/article/view/21600/14366Copyright (c) 2022 Carla Alexandra Gonçalveshttp://creativecommons.org/licenses/by/4.0info:eu-repo/semantics/openAccessGonçalves, Carla Alexandra2024-02-29T13:13:58Zoai::article/21600Revistahttps://www.revistas.udesc.br/index.php/palindromoPUBhttps://www.revistas.udesc.br/index.php/palindromo/oaipalindromorevista@gmail.com || revistapalindromo@udesc.br2175-23461984-9532opendoar:2024-02-29T13:13:58Palíndromo (Online) - Universidade do Estado de Santa Catarina (UDESC)false |
| dc.title.none.fl_str_mv |
The detail out of sight: the towers of Rouen’s Cathedral El detalle fuera de la vista: las torres de la Catedral de Rouen O detalhe fora da vista: as torres da Catedral de Ruão |
| title |
The detail out of sight: the towers of Rouen’s Cathedral |
| spellingShingle |
The detail out of sight: the towers of Rouen’s Cathedral Gonçalves, Carla Alexandra Detalhe Escultura Ruão Catedral Invisibilidade História da Arte. Detail Sculpture Rouen Cathedral Invisibility Detalle Escultura Rouen Catedral Invisibilidad |
| title_short |
The detail out of sight: the towers of Rouen’s Cathedral |
| title_full |
The detail out of sight: the towers of Rouen’s Cathedral |
| title_fullStr |
The detail out of sight: the towers of Rouen’s Cathedral |
| title_full_unstemmed |
The detail out of sight: the towers of Rouen’s Cathedral |
| title_sort |
The detail out of sight: the towers of Rouen’s Cathedral |
| author |
Gonçalves, Carla Alexandra |
| author_facet |
Gonçalves, Carla Alexandra |
| author_role |
author |
| dc.contributor.author.fl_str_mv |
Gonçalves, Carla Alexandra |
| dc.subject.por.fl_str_mv |
Detalhe Escultura Ruão Catedral Invisibilidade História da Arte. Detail Sculpture Rouen Cathedral Invisibility Detalle Escultura Rouen Catedral Invisibilidad |
| topic |
Detalhe Escultura Ruão Catedral Invisibilidade História da Arte. Detail Sculpture Rouen Cathedral Invisibility Detalle Escultura Rouen Catedral Invisibilidad |
| description |
The detail can assume several dimensions, between particularities, parts in a whole, fragments, minimal, marginal and liminal elements, to the character of an autonomous, symbolic, and a significant element, a modifying device, even a random or insignificant occurrence or, on the contrary, a formal overstatement. The term detail has an extraordinary polysemy, applying to a great kind of situations, therefore details, in the context of the history of art and aesthetics, will not all be the same, in terms of discourse, intention, meaning and character; they will not arise for the same reasons; won’t have the same expressive force, nor should be read according to generalist models of interpretation. The complexion of the detail hinders the objectivity and fluidity of the analysis, and, above all, the construction of clean and finished narratives. Studying the detail can, by all means, constitute by itself a labour that originates fragmentary speeches. After a theoretical introduction regarding the detail, in the density of its dimensions, we will analyse the case of the order of the three towers of Rouen's cathedral (Normandy, France): the Saint-Romain, the Manteiga, and the idealization of the spire over the cruise tower. The towers were criticized by the incumbents due to their excessive detail and the meticulous and time-consuming cutting of the stone for works out of sight. The last work, considered the pinnacle of detail, would never be built. The unresolved issue is related to the just reasons for the harsh criticisms from the cathedral chapter which lead to the resistance undertaken by the artists, who defended the detail even at the risk of their work. |
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2022 |
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2022-05-01 |
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info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion |
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article |
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publishedVersion |
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https://www.revistas.udesc.br/index.php/palindromo/article/view/21600 10.5965/2175234614332022014 |
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https://www.revistas.udesc.br/index.php/palindromo/article/view/21600 |
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10.5965/2175234614332022014 |
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por |
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por |
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https://www.revistas.udesc.br/index.php/palindromo/article/view/21600/14366 |
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Copyright (c) 2022 Carla Alexandra Gonçalves http://creativecommons.org/licenses/by/4.0 info:eu-repo/semantics/openAccess |
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Copyright (c) 2022 Carla Alexandra Gonçalves http://creativecommons.org/licenses/by/4.0 |
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openAccess |
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application/pdf |
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Universidade do Estado de Santa Catarina |
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Universidade do Estado de Santa Catarina |
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Palíndromo; Vol. 14 No. 33 (2022): A questão do detalhe na história da arte; 14-42 Palíndromo; v. 14 n. 33 (2022): A questão do detalhe na história da arte; 14-42 2175-2346 1984-9532 reponame:Palíndromo (Online) instname:Universidade do Estado de Santa Catarina (UDESC) instacron:UDESC |
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Universidade do Estado de Santa Catarina (UDESC) |
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UDESC |
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UDESC |
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Palíndromo (Online) |
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Palíndromo (Online) |
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Palíndromo (Online) - Universidade do Estado de Santa Catarina (UDESC) |
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palindromorevista@gmail.com || revistapalindromo@udesc.br |
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