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Ivory carving has a special importance to the medieval art of Europe because of this, and in particular for Byzantine art as so little monumental sculpture was produced or has survived. [ 1 ] As the elephant and other ivory-producing species have become endangered , largely because of hunting for ivory, CITES and national legislation in most ...
The Virgin and Child from the Sainte-Chapelle is an ivory sculpture probably created in the 1260s, currently in the possession of the Louvre Museum in Paris.The museum itself describes it as "unquestionably the most beautiful piece of ronde-bosse [in the round] ivory carving ever made", [1] and the finest individual work of art in the wave of ivory sculpture coming out of Paris in the 13th and ...
The earliest documentation of the ivories was in the inventories of the Salerno Cathedral during the early sixteenth century. [1] A lack of further written sources causes debate over when and where the ivories were carved, who commissioned them, the arrangement of the panels, and the geographical and cultural origins of the artists. [1]
Since much greater numbers of ivories survive than panel paintings from the period, they are very important for the history of Macedonian art. All sides of the triptych are fully carved, with more saints on the outsides of the side leaves, and an elaborate decorative scheme on the back of the central leaf. The ivory's early history is unrecorded.
Lasko, Peter, Ars Sacra, 800–1200, 1994 (2nd edn.), Penguin History of Art (now Yale), ISBN 0300053673, Google books; Williamson, Paul. An Introduction to Medieval Ivory Carvings, 1982, HMSO for V&A Museum, ISBN 0112903770
There is a second ivory triptych in the British Museum and two leaves divided between the British Museum and the Louvre. They are carved with the same arms. [6] The Grandisson ivories in the Louvre and British Museum demonstrate iconographic features that suggest Italian influence and the style of paintings from the province of Siena in Tuscany ...
The base was built with a wooden core and the ivory panels were attached with pegs. With the ivory stained, painted, or gilded the finished box was beautiful and suitable for royal uses. The flat lids would either slide open or use hinges. With truncated pyramids, such as the Morgan Casket, the lids were hinged. [5]
The great majority of works are undocumented and unsigned, and there were almost certainly other workshops working in the style, [8] so the modern tendency among museums and art historians is to attribute them using "Embriachi workshop", "Embriachi-type" or similar terms. They are also very hard to date with any precision on stylistic grounds.
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