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The Corpus of Romanesque Sculpture in Britain and Ireland (CRSBI) is an ongoing web-based research tool that freely provides expert reports and photographs of Romanesque sculpture carved in the British Isles between the mid-11thc century and the end of the 12th.
This is a list of artists active within the Romanesque period of Western Art. As biographical information often is scarce about artists from this age, many are anonymous or known only by later notnames .
Outside Romanesque architecture, the art of the period was characterised by a vigorous style in both sculpture and painting. The latter continued to follow essentially Byzantine iconographic models for the most common subjects in churches, which remained Christ in Majesty, the Last Judgment, and scenes from the life of Christ.
Romanesque art — the art of western Europe created during the High Middle Ages. It spans the era from approximately 1000 CE to the rise of Gothic art and architecture in the 12th century and later. It covers Romanesque architecture, Romanesque painting, Romanesque sculpture, and metal working.
His style is characterised by its mix between classic Romanesque and lingering Norse influences. The works attributed to Hegvald are expressive on the verge of grotesque, somewhat vernacular and typically sculpting covers the whole of the font, including the base and foot. [1] [2] [3] [4]
The lead sculptor would in any case have had a number of assistants, though the distinctive designs may well have been the work of a single hand. Gislebertus's name is the first ever found on stone work from the Romanesque period, as the sculptors before him believed themselves to be working for God, instead of themselves being creative ...
These are considered to be revivals of ancient Roman relief sculptural traditions, and are prime examples of Romanesque sculpture. Wiligelmo's name is known from an epigraph carved as a postscript to the Latin inscription over the foundation date on that facade: "Among sculptors, your work shines forth, Wiligelmo". [3]
The Master's sculptures share a peculiar style unlike that of most Romanesque sculptors. All of his human figures have low, triangular faces; crushed chins; high, deeply carved ears; almond-shaped eyes with trepanning holes at either end; hands with long, tapering fingers; many folds in the drapery; and a great deal of detailed work identifying the principal figures.