GREECE Vase Paintings Ionic Capital Mosaics Acropolis

Description: INTERNATIONAL BUYERS:? The shipping rates shown are for '1st Class International Package' with tracking.? Ebay is also promoting their EIS International Shipping program on sellers pages. I do not use this program because it is more expensive, slower, not very transparent, and frustrating to the buyer, if something goes wrong. Do not select it, if ebay does show it as an option. Thank you. Greek Monochrome and Polychrome Ornaments from various epochs Another Fine Quality Print from Martin2001 Print Specifics: Type of print: Lithograph - Original French antique printPublisher: Librairie de Firmin Didot, Paris, Rue Jacob 56, 1885-1887. Condition: 1 (1. Excellent - 2. Very good - 3. Good - 4. Fair)Dimensions: 11 x 15.5 inches (28 x 40 cm), including blank margins (borders) around the image.Paper weight: 2 (1. Thick - 2. Heavier - 3. Medium heavy - 4. Slightly heavier - 5. Thin)Reverse side: BlankNotes: 1. Green color 'border' around the print in the photo is a contrasting background on which the print was photographed. 2. Detail of the print is sharper than the photo of the print. 3. The hard copy of the legend key is not included in this offer. Legend to the illustrations: These fragments are from the Wingless Victory and the Erechtheion, on the Acropolis, at Athens, and belong to one of the most interesting periods of Greek architecture. To colour this type of architecture paints were laid flat along the lines of the design or upon the reliefs, after the manner of the Egyptians. Generally, the surface was prepared witli a coating of a nature akin to stucco. Sometimes the tints were formed with encrusted coloured pastes, as can be seen on the Erechtheion; sometimes the colour was provided by mosaics. The ornamented details of these capitals are treated like enamels, the function of which is to set off the double scroll which characterizes the Ionic style. The variations which exist in the shapes of the scrolls and in the other parts of the top of the column indicate that the Greeks did not necessarily abide by a fixed set of rules when they adorned a column with the features of the Ionic order. Vitruvius relates that the lonians of Asia had modelled their column after the slender and gracious proportions of a woman, with the scrolls of the capital representing her twisted hair, and the fluting of the shaft the folds of her garments. Ionic scrolls recalled the custom of suspending the horns of sacrificial animals from the tops of the temples and from the corners of altars. As to the origin of the style, we know that capitals forming a corbel over the column were familiar to the Egyptians, and that the Greeks who had settled on the coast of Asia Minor must have been aware of Assyrian architecture, and especially of the capitals at Persepolis which consist of two half-figures of bulls back to back. The fragments of pottery decoration shown in no. 1,3,4,5,6,7,8,10 and II, belong to the two main categories of monochrome ornamentation: pottery adorned with yellow figures on a black ground, and pottery adorned with black figures on a yellow ground. N° II is taken from an Etruscan amphora which was found at Chiusi in 1851. It depicts three women warriors retreating from combat. The figures are painted in black on the light tone of the baked clay, and the details have been traced with a sharp point on the black coating. The fullness of movement in the bodies enhances the effect produced by this severe style, and the interplay of draperies and weapons has been discreetly employed here to create a rhythmical link between the figures. The second genre consists in using the yellowish tint of the pottery for the figures and the ornaments, and covering the rest of the surface with a black colour which creates an artificial background. The black lines which delineate the inner details of the figures allow a much greater variety in the poses they adopt, which range from pure profile to a certain amount of foreshortening, so as to compose a varied series of silhouettes. According to the laws of human sight, a light colour on a black ground appears to have a greater volume than in the opposite case, and from an artistic point of view it offers richer results. Our fragments, despite their unity of style provide us with examples which display a great variety of expressions. No. 1. depicts a funeral scene. A small temple, its pediment recalling Selene, the Moon-goddess of Asia Minor, determines the nature of the composition. This temple belongs to the Ionic order, which seems to have been the only order employed for funerary edifices. In paintings on vases the Ionic column always represents a sepulchral monument, and when, as in the present case, there is a dialogue, the seated character is always the deceased, both in bas-reliefs and in paintings. The whole scene, which is flanked by palmettes, is regular, the temple occupying the centre. The details, however, are treated with that Greek form of symmetry, eLLlythmia,a, which consisted not in the repetition of identical things but in the arrangement of equivalent things. The pattern of rosettes, their centres offset in white, has the appearance of a constellation, adding its own discreet and serene light to this funereal scene. No. 3 is one of those ornaments which formed a decorative ring around a vase. The marine world is here represented by several creatures, including the cuttle-fish, silhouetted in their own element indicated by the small running Vitruvian scrolls. In fragment n° 4, which depicts Ganymede abducted by Jupiter in the form of an eagle, the artist has employed with great skill the tracery formed by the stems of the plant. These scrolls are very different from the palm shapes and other regular floral patterns of architecture. No. 10 is the fragment of a Bacchanalia. The movement is particularly remarkable, since the space in which the dance takes place is strictly limited in height. Here, as in the metopes of the Parthenon where Phidias succeeded in fitting human figures in spaces for which they would be too tall if they merely stood upright, the Bacchantes are depicted with great freedom and variety of movement. The Greeks excelled in compositions of this sort, in which the human figure, represented with increasing scientific accuracy and with exquisite taste, is treated as a running ornament. The ornamental foliage on which the Bacchantes conduct their revels is also significant, as in Greece the Bacchanalia was originally an exclusively pastoral celebration. No. 1,3,4 and 10 are Apulian vases from the Berlin Museum. The Creeks founded several colonies in the southern part of Italy, and the vases from Apulia are related mainly to the cult of Dionysus, the Roman Bacchus, whose worship these Greeks imported into Etruria. The Dionysus of the Greeks, sometimes likened to the Egyptian Osiris, combined in one symbol the wine which gives rise to inebriation and the mystical idea of death and resurrection. In the Roman world he eventually became associated only with the idea of death, as can be seen from the Bacchic representations on many sarcophagi. no. 9. Bas-relief in mosaic. Decorative plaque. This figure which belongs to the purest Greek style, is a personification of Hope, Elpis in Greek, Spes for the Romans, which was the object of a specific cult in both nations. Tradition has it that Hope is represented as a young woman, elegantly dressed holding a flower in one hand and slightly raising her garment with the other. Mosaics of this type were fitted into the wall, where they usually made up a series representing each divinity separately. This bas-relief is believed to come from ancient Metaponte, and one assumes that it formed part of the decoration of some temple or other edifice of the Roman era. Our reproduction being half the size of the original, one may infer the fineness of these types of works as regards the delicacy of the drapery, the outlines of the body, and the flesh tints. Martin2001 Satisfaction Guaranteed Policy! Any print purchased from me may be returned for any (or no) reason for a full refund including all postage. Internet seller since 1998.Five-star service.

Price: 29.25 USD

Location: Manassas, Virginia

End Time: 2024-02-25T19:30:46.000Z

Shipping Cost: 4.45 USD