17th–18th Centuries – History of Wood Carving

Screen Shot 2020 05 07 at 13.29.09 728x375 - 17th–18th Centuries - History of Wood Carving

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The great school of Grinling Gibbons was founded in England. Although he carved many beautiful moldings of conventional form (Hampton Court Palace, Chatsworth, etc.), his name is usually associated with a very heavy form of decoration that was copied directly from nature. Large curtain and deciduous trees with fruit, dead birds, etc. would be carved one foot thick in lime. For technical reasons, these examples are second to none. Each grape would be cut, the finer stems and bird legs would protrude quite separately and soon succumb to the energy of the maid’s broom. Good work in this class can be found at Petworth; Trinity College, Oxford; Trinity College, Cambridge; St. Paul’s Cathedral; St. James, Piccadilly; and many other London churches.

During the reign of Louis XIV and XV. The main advantage of carved design, i.e. H. its appropriateness and suitability gradually disappeared. Furniture was often carved in a way that was hardly legitimate. The legs, the rails of tables and chairs, the frames of cupboards, of mirrors instead of being made for construction and strength first. and then decorated, were first designed to wear angel heads and rococo (i.e., stone and shell decoration), regardless of usefulness or convenience. A plethora of such misconceptions have also been applied to state carriages, not to mention bed frames and other furniture. However, the least illegitimate form of the wall cladding of the villas of the rich, and sometimes the cladding of furniture, was decorated with Rococo design. The main part of the wooden surface would remain smooth, while the middle would be carved with a medallion surrounded by leaves, vases or trophies from torches and musical instruments etc., or maybe the upper part of the plate would be treated like this. France led the way, which was more or less followed across Europe. Gilded chairs in Louis XV style in England. were made in some quantities. But Thomas Chippendale, Ince, and Mayhew, Sheraton, Johnson, Heppelwhite, and other carpenters typically didn’t use much carving in their designs. Scrolls, shells, ribbons, ears of corn, etc., however, were used in very fine relief to embellish chairs, etc., and the claw and ball foot were used to finish off the convertible legs of cupboards and other furniture.

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The 18th century mantelpieces were usually carved in pine and painted white. Usually the shelves were narrow and carried by pilasters, who often had a flat elliptical floor plan, sometimes caryatids, and the frieze consisted of a raised central plate carved with a classic relief scene or with a mask alone and a prey from both sides was flowers, fruits and leaves.

Interior doors were often adorned with a broken gable, more or less richly decorated, and a pile of leaves usually hung from both sides over a scroll background. The outside porches, so often seen in Queen Anne houses, had a character that was unique to the 18th century. A small platform or curved roof was carried by two large and heavy brackets carved with acanthus scrolls. The stairs were usually exceptionally good. Carved and pierced brackets were attached to the open strings (i.e. on the sides of the steps), which gave the graceful balustrade of twisted and twisted columns a very nice effect.

Renaissance figure work requires little comment. For example, many good examples of these priest statues were made in the Sens Museum during the 16th century. But the figures used to decorate cupboards etc. rarely rose above the ordinary level. In the 18th century, angel heads were in fashion and statuettes were sometimes carved into boxwood as ornaments, but wooden sculpture ceased to be a means of decorating houses. However, the Swiss have retained their reputation as animal sculptures to this day and still pose as skillfully carved chamois and bears, etc .; as a rule, the more sketchy the cut, the better the earnings. Her more ambitious work, her groups of cows, etc. sometimes reach a high level of excellence.

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Between the 17th and 18th centuries, a florid wood carving began in the Gardena Valley, which is now in the Italian province of South Tyrol. A network of people from this valley traveled on foot to all European cities as far as Lisbon and Saint Petersburg to sell the products of hundreds of carvers. After all, in Gardena in the 19th century, mainly wooden toys and dolls, also known as Dutch dolls or penny dolls, were carved out of millions of pieces. The Gherdëina Museum in Urtijëi shows a large collection of examples of wood carvings from this region.

Gilded wood carvings continued to be made in Portugal and Spain, and the style was exported to their New World colonies, the Philippines, Macau and Goa.

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