nytimes.com/2017/09/01/arts/de…ration-controversial.htmlA Controversial Restoration That Wipes Away the Past
CHARTRES, France — The pilgrim did not find what he was searching for. As a child, Patrice Bertrand heard his mother recount details of her visit to the shrine of the famous Black Madonna of Chartres Cathedral, 60 miles southwest of Paris. Now Mr. Bertrand, 41, of Nantes, was following in her footsteps. But he was perplexed by what he discovered: “The statue I came to see is not here anymore,” he said. The Black Madonna had become white.
The decision to remove what a plaque in the cathedral calls the “unsightly coating” from the 16th-century wooden icon has come to symbolize the contested transformation of Chartres, which has been undergoing a decade-long restoration. For almost 500 years, pilgrims worshiped the Virgin’s dark visage, and it accrued the kind of mythic currency integral to Catholic worship. To some critics, the repainting has erased a cultural memory from a building its restorers say they are saving.
Ms. Woods emphasized that what appeared “fake” to some is, in fact, faithful to the original. The bony white colonettes and the multicolored ceiling keystones may seem garish, but they were aspects of the medieval cathedral (along with opulent wall hangings and portal statues painted in vivid colors). Yet we do not have medieval eyes, and we cannot see the world as pilgrims of that era did.
The restoration seeks to reconstitute a temple of light, to challenge the popular perception of Gothic dejection. But in doing so, it raises an intriguing question: What happens when our inherited assumptions about the past come into contact with layers of accumulated myth?
Then there are some inconsistencies in the medieval restoration: The cathedral has electric lighting (although the brighter interior actually minimizes the need for artificial light), the elegant but uneven stone floor remains untreated and the apse boasts restored baroque marble. It is a challenge to identify at what point an innovation is consecrated into tradition, and which version of Chartres ought to be conserved.
auch der Link zu einem weiteren Artikel ist sehr interessant:
nybooks.com/daily/2014/12/14/scandalous-makeover-chartres/A Scandalous Makeover at Chartres
In fact, medievalists have been alarmed for some time about this approach to renovation, which despite its recent vogue in France seems to violate international conservation protocols. France is a founding member of the 1964 Charter of Venice, an international agreement on the preservation and restoration of ancient monuments and sites. But the art historian C. Edson Armi—a scholar of medieval Chartres and author of The “Headmaster” of Chartres and the Origins of “Gothic” Sculpture (1994)—maintains that “Those in charge [at the Monuments Historiques] today do not accept the principles of the Charter, which decries covering over or permanently altering original stonework in the process of restoring it.”
Dazu ergänzend sei auf diese Doku hingewiesen, die sich zwar generell um Kathedralen dreht, aber auch explizit auf die Restaurierung in Chartres und den ungewohnten Anblick eingeht, so ab Minute 11:
Derselbe Chef-Restaurator der in Chartres tätig wurde, war auch schon mal davor tätig:
Basilique du Sacré Coeur in Paray-le-Monial
vorher und nacher
Die Moderne verleugnet ihre Herkunft, weil sie fürchtet, die Auseinandersetzung mit ihr könnte sie überfordern - oder ihr gar ihre eigene Banalität vor Augen führen. — Dr. Melanie Möller
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