Preliminary research on the part of an "Iconographical Conceptor" in medieval art.

通过去年的研究，我们可以澄清，尼古拉斯·弗罗芒（Nicolas Froment）在佛罗伦萨乌菲兹美术馆（Uffizi Gallery）完成的《拉腊鲁斯复活三联画》（Triptech of the Resurrection of Lararus）的图像特征，是其客户、意大利高级教士托马斯·奥·科皮尼（Thomas o Coppini）有意要求的结果：这位委托人是庇护二世的教皇成员之一，他从枢密院主义转变为宗座主义，要求艺术家将教皇于1461年1月宣布的公牛“Exsecralibis”的内容融入其肖像计划。今年的研究面向另一位画家Enguerrand Quarton的基本调查，15世纪世纪阿维尼翁学派的前身。在这次调查中，其中审查了12个档案文件有关活动的艺术家在普罗旺斯，我们可以讨论的Requin祭坛，工作的首演时期的画家保存在小宫博物馆在阿维尼翁，并在其他两个照明手稿，图书的时间，女士。358在皮尔庞特摩根图书馆在纽约，让德马丁斯的罗马Missel，nouv。获得拉特女士。2661年在巴黎的国家图书馆我们可以通过这次调查来跟进我们对这位艺术家的研究（1990-1991），我们可以在1992年11月公布这两年的研究计划。

Through the research of the last year, we could clarify that the iconographical specificity of the Triptich of the Resurrection of Lararus, executed by Nicolas Froment, actually in the Uffizi Gallery at Florence, resulted from the intentional demand of its client, italian prelate, called Thomas o Coppini : this client, one of the pontifical members of Pius II who had converted from the Councilianism to the Pontificalism, asked the artist for integrate into its iconographical program the content of the bull "Exsecralibis" decleared by the Pope in January 1461.The research of this year was oriented to the basic survey on another painter Enguerrand Quarton, precursor of Froment in the 15th century Avignon School. In this survey where were examinated 12 archival documents concerning the activities of the artist in Provence, we could discuss on the Requin Altarpiece, work of premiere periods of the painter conserved in the Petit-Palais Museum at Avignon, and on other two illuminated manuscripts, Book of Hours, ms.358 in the Pierpont-Morgan Library in New York, and Jean de Martins's Roman Missel, nouv. acq. ms. lat. 2661 in the Bibliotheque Nationale at Paris. We could follow up by this survey our praceding studies (1990-1991) on this artist.We could publish in this november 1992 the Research Project for these two years.