eprintid: 2843 rev_number: 18 eprint_status: archive userid: 4 dir: disk0/00/00/28/43 datestamp: 2014-11-18 12:34:24 lastmod: 2014-12-19 17:11:54 status_changed: 2014-11-18 12:34:24 type: article metadata_visibility: show creators_name: Krasny, Piotr title: Le vrai portrait de Notre-Dame. O próbach odnowienia ikonografii maryjnej w XIX wieku / Le vrai portrait de Notre-Dame. On the attempts to refresh the Marian iconography in the 19th century subjects: 700 subjects: 750 divisions: 9 cterms_swd: Christliche Kunst cterms_swd: Mariendarstellung cterms_swd: Marienverehrung cterms_swd: Ikonographie cterms_swd: Geschichte 1800-1900 abstract_translated_text: In the 19th century, France witnessed a significant revival of Marian piety, which manifested itself, among other things, in mass participation in May Masses and a surge in the number of Living Rosary Circles. Numerous apparitions of the Virgin Mary were reported in the country, some of which the Church recognized as "worthy of credence". It was under their influence that l’abbé Blanc came up with a proposal to reconstruct the true image of Mary based on the accounts of her appearance given by those who experienced revelations. The results, however, proved disappointing. The appearance of the Virgin Mary, as seen by Catherine Labouré in the chapel at Rue du Bac, was "corrected" to such an extent that the "miraculous medallion" reveals to have had the Rococo statue of the Immaculate from the Parisian church of Saint-Sulpice as the actual prototype. No better were the results of recording the image reported by the children of La Salette. Barrême d’Angers, a provincial sculptor, crowded every detail they described into a single figure of Mary; Joris Karl-Huysmans argued it made the Mother of God resemble an Iroquois in a headdress. A much more talented artist, Joseph-Higes Fabisch set out to sculpt the statue of Our Lady of Lourdes, using the account given by Bernadette Soubirous as the basis for a "memory portrait" of the Holy Virgin; the girl’s testimony was supplemented with reproductions of earlier art works. Even though initially the co-operation between Soubrious and the artist seemed to go well, the girl burst into tears upon seeing the finished statue. She commented that the image lacked the "remarkable simplicity" of the Beautiful Lady. One reason for all these failures, argued Labouré, was "the hubris of earthly artists", who groundlessly believed themselves capable of rendering supernatural visions in their material images. Some blame should probably also go to the clergy, who were too afraid of offending renowned sculptors to heed the objections voiced by the witnesses. Once the attempt at reviving the iconography of the Virgin Mary on the basis of revelations ended in failure, the church lost all faith in the skills of contemporary artists and began to disseminate the exact reproductions of medieval Marian images as the sole object of worship. abstract_translated_lang: eng date: 2009 id_scheme: DOI id_number: 10.11588/artdok.00002843 collection: c-4 ppn_swb: 1653641703 own_urn: urn:nbn:de:bsz:16-artdok-28437 language: mul bibsort: KRASNYPIOTLEVRAIPORT2009 full_text_status: public publication: Sacrum et Decorum volume: 2 pagerange: 16-30 title_lat: Le vrai portrait de Notre-Dame. O probach odnowienia ikonografii maryjnej w XIX wieku / Le vrai portrait de Notre-Dame. On the attempts to refresh the Marian iconography in the 19th century oa_type: green laender: LFr themen: T11 themen: T25 themen: T14 citation: Krasny, Piotr (2009) Le vrai portrait de Notre-Dame. O próbach odnowienia ikonografii maryjnej w XIX wieku / Le vrai portrait de Notre-Dame. On the attempts to refresh the Marian iconography in the 19th century. In: Sacrum et Decorum, 2 (2009), pp. 16-30 document_url: https://archiv.ub.uni-heidelberg.de/artdok/2843/1/Krasny_Le_vrai_portrait_de_Notre_Dame_2009.pdf