"Classical Greece", meaning, authoritative: of recognized authority or excellence; "the definitive work on Greece"; or, relating to the most highly developed stage of an earlier civilization and its culture.
Table Lamp
This interpretation of the term "classic" clearly defines the Greece of 500 Bc, which has constantly re-inspired the Western world. The well known Athenian Acropolis, the temple to Athena, being a excellent example of classical Greek architecture.
At discrete periods conception history, revivals of the superb designs of Greek classicism have emerged in art and invent and particularly, architecture. Architectural styles have been inspired by elements of old Greek temples, with the use of weighty marble Corinthian and Doric columns, ornamental friezes and grand stair cases. These revisits are generally known today as periods of "Greek Revival". These movements were dominant from about the middle of the 18th century, lasting, roughly until the close of the 19th century, 1750 - 1890.
When speaking of invent and the optical arts, the neoclassical movement, or the turning back to the classic, can be dated to about c1765 with its introduction generally seen as a reaction to the restraints of the previous styles of the Baroque and Rococo, both of which were heavy with form and ornamentation.
The neo classical style can be seen as a desire to go back to the perceived clarity N �����ัดเจน and clean lines of old Greece. In France, this classical style became known as the style "Etruscan" and was much favored by the court of Louis Xv and Xvi.
From the late 18th century and up until about 1830 the style greatly influenced designers, peaking straight through the early years of the 19th century. Interior and furniture designers began to invent and furnish Greek style tables, chairs, wall hangings, pottery, silver and even coaches. These were all designed in the new classical Greek style, with simple lines and ornamental elements drawn from the repertoire of Greco-Roman ornament, particularly from Greek vase painting and from classical architecture, i.e. Architectural motifs such as the repetitive Greek key, palmettes and Acanthus leaf. The typical colour range of this neoclassic revival included black motifs outlined against terra cotta and Pompeian red, powder blue, puce and olive, these colours sometimes used in a single ornamental scheme.
With the exception of pottery and pottery of the period, when we see these colours today, they appear as pastels. We forget that these objects have been exposed to over 200 years of sunlight with traditional interiors having long since faded.
From about 1800, European archeology was "discovering" old Greece, with new invent elements being really brought to the surface! In 1806, Lord Elgin transportable architectural elements of the Parthenon from Athens to London; events like this having the follow of lifting neoclassicism to new heights. Many artists were now taking the path to Greece and a steady flow of sketches and engravings were now production their way north.
The style swept across Europe, now variously known in France, as the Neo-Grec and Empire style, in England as the Regency style and in Russia as Empire style, with its work on felt not only in architecture and design, but in literature, theatre and music.
The Greek revival had a profound work on on architecture, an work on which lasted well into the 19th century. In fact, it was not until the 1840's that the term "Greek Revival" was used, believing to have been first used by Charles Cockerell, Professor of Architecture, in a lecture delivered to the Royal society in 1842.
The style lasted well into the 1860's, especially in North America. The revival saw the construction of many banks, courthouses and other large social structure along with secret houses designed on the grand scale. From an architectural perspective, it was held to reflect intellect, prosperity and stability, with the use of grand porticos supported by stately columns, reminiscent of Greek temples.
With the ornamental arts, the revival was again strengthened in the 1860-1870 period. At this date, of course, we are talking of the high Victorian period, with invent now characterised by a Victorian robustness. Throughout this late revival decade, art and invent again swung toward the neoclassical, although this time without the early 19th century slenderness and elegant fine lines.
This narrative is visible with a French lamp from the late revival duration and includes its formal narrative -:
A very rare, French, 19th century, black matte glazed, terra cotta lamp decorated with a classical Greek subject. The lamp derived from the style of the Bucchero, Etruscan, terra cotta vases of classical Greek antiquity, circa 500 B.C. These vases, characteristically painted with highly glazed black figures on a grey-black ground.
The lamp of amphora shape, an oval body with a narrow neck and curved handles. The amphora supported on a short socle and standing on a circular base. This shape was introduced by the "Bucchero potter", Nikosthenes in about 530 B.C
The branch of the decoration, Triptolemus, the legendary mortal of Greek mythology, much favoured by the gods. Demeter, goddess of agriculture, consecrates Triptolemus, the son of Celeus, "King of Eleusis". Demeter, with her daughter, Persephone, Goddess of Spring Growth, instructing him in the art of agriculture. From Triptolemus the rest of Greece learned to plant and reap crops.
Triptolemus flew across the land in a winged chariot, a gift of the goddesses, to unblemished his mission. The embellishment with highly glazed black figures,shows Triptolemus seated in his winged chariot and retention his attribute, a sceptre of ears of corn, the goddess Demeter passing him implements of agriculture.
The reverse side of the lamp decorated with Demeter, the grain and fertility goddess and Persephone, goddess of Spring growth and Queen of the underworld, the goddesses retention Eleusinian torches and sheaves of wheat. Demeter shown standing by her altar, within the temple, built in her honour by Triptolemus.
The lamp standing on a convention made stepped, circular, gold plated, bronze base, the base rim enamelled in black. The lamp cap of convention made, gold plated bronze.
Circa 1865 allembracing height along with shade 23"/58.5cm
The lamp produced in Greek Etruscan style, with a black matte ground selectively polished to furnish the classical Greek subject. This example also demonstrates the concentration to information and potential of workmanship of this Victorian expansionist period.
The visible term, "neoclassical" giving way to the term "Greek revival" and appropriate as being important from c1765 - c1870, saw the rebirth of classical Greek architectural elements, extending into the ornamental arts, interior design, literature and music.
This elegant, fine lined style has never been surpassed and is constantly revisited by every aspect of design, architectural, interior invent and fashion.
antique Lamps - A Greek branch Lamp of Gods and Men
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