There is some debate about the purpose of The Broighter Horde, in which The Broighter Boat was found. Originally thought to be a votive offering uncovered on the English coast, the courts were quick to dismiss this argument in order to take possession of the find and donate them to the Royal Irish Academy. The sculptor of the boat is unknown but it stands out as a prime example of artisans' skill during the La Tène period of Celtic craftsmanship and artistry. The La Tène period defined the Celts as a viable culture. Their civilization was such that it was able to acquire the day-to-day needs of the people giving them time to perfect various forms of metal working and other refined forms of art. The La Tène style spanned approximately 400 years between 500 and 100 BCE. La Tène represents the first pinnacle of achievement or prosperity of Celtic art, illustrating the flourishing and expanding growth of the Celtic empire. Coincidentally, during this period the Celts stopped cremation of the dead and began to bury the bodies of their dead. The resultant increase of burial sites with hoards of personal possessions and household items buried with the dead person in order to facilitate one's enjoyment of the afterlife, has provided a cache of artifacts that contributes to understanding this Celtic civilization.
La Tène style can be described as "a highly [stylized] curvilinear art based mainly on classical vegetable and foliage motifs such as leafy palmette forms, vines, tendrils and lotus flowers together with spirals, S-scrolls, lyre and trumpet shapes". (Wallace, 2002) The Broighter boat is one of very few pieces of sculpture found from the La Tène period. It is unique in its simplicity and attention details. The boat originally ha...
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Opera house sunrise. (2007, January 27). In J. Lee (Author), Flickr. Retrieved October 6, 2011, from http://www.flickr.com/photos/lutherankorean/2697798569/ (Originally photographed 2007, January 27)
Stafford, J. (2001, January 26). Irishcoinage.com. Retrieved October 6, 2011, from http://www.irishcoinage.com/JPEGS/K00001X4.JPG
Sydney opera house. (n.d.). In D. Smith (Author), Redbubble.com. Retrieved October 06, 2011, from http://www.redbubble.com/people/davesmith/art/130841-sydney-opera-house
Utzon, J. (2002). Sydney Opera House Design Principles (Publication). Retrieved October 1, 2011, from http://www.heritage.nsw.gov.au/docs/nominations/operahouse_designprinciples.pdf
Wallace, P. F. (2002). Treasures of the National Museum of Ireland: Irish antiquities (p. 126) (R. O'Floinn, Ed.). Dublin: Gill & Macmillan in association with the Boyne Valley Honey.
In this context, the opening of the Ulster Folk Museum, located in Cultra in County Down, Northern Ireland (and now linked to the Ulster Transport Museum), in 1964, might theoretically be seen as a strategy in the ongoing attempted maintenance of unionist hegemony and social control in Northern Ireland. This might especially be assumed in that the early 1960s were a time when pressure for reform in Northern Ireland was increasing, and when the governing unionist coalition was fracturing, partly under the strains of early deindustrialisation.[8] Such a tourist site might also be seen as a propagandistic effort to appeal for political support (or reduced political opposition) from those with ancestral links to Ulster and its “traditions” in the wider diaspora. There are however manifold reasons for thinking that it may be rather too tempting to exaggerate the political intentions behind the formation of such a museum at such a time. Foucauldian notions of the exertion of knowledge-power over the human body have been rightly criticized (even when applied to more favourable contexts) in that they fail properly to address complicated questions of agency and the issue of in whose interest any given strategy was exerted.
Each of these designs has had a great impact in the field of scenic design and on the future of technical theatre design. Due to their artistic talent, hard work, creativity, and drive to reach their dreams these scenic designers have paved the way for future designers and innovation in future productions. The theatre world would not have been the same without their substantial impact and the footprints of genius they leave behind.
...ncyclopedia of Archaeology, Ed. Deborah M. Pearsall. Vol. 3. Oxford, United Kingdom: Academic Press, 2008. p1896-1905. New Britain: Elsevier, Inc.
In this essay I will discuss what I’ve learned about Australian architecture, a brief history, and most of all, a major influence to the Australian style, Harry Seidler. Australia is a country that has only been around almost 100 years, a short time compared to other countries like America that has been around for almost 200 years. With Australia being a young country, it’s easy to see that it is still discovering the Australian style. In 1890 the architect James Izett and Howard Joseland raised the question, ‘What, in the first place, must guide us in the development of an Australian type (Johnson 1980, p. 2)?’ Both seemed to believe that climate was the answer. Another man named James Green thought that public and urban buildings should be seen as one style and domestic architecture as another. A popular view was that the old, ‘conservative’ Bri...
However, the artefacts brought to England from Benin in 1897 were an anomaly. The craftsmanship and sophistication were such that some were reminiscent of the beautiful figures in the Hofkiche, Innsbruck 1502-1563 (plate 3.1.12. Visited...
The ancient mythology of Ireland is one of its’ greatest assets. The glorious, poetic tales of battles, super humans, demigods and heroes ranks among the best of ancient literature. The book of the Dun Cow, (Lebor na huidre), was written around 1100 and contains stories from the eighth and ninth centuries. The Book of Invasions, (Lebor Gabala), tells how the mythical ancestors of the Irish, the God-like Tuatha Dé Danann, wrestled Ireland (or Erin) from misshapen Fir Bolg in fantastic battles. The Fir Bolg were traditionally linked to Gaul and Britain so the analogy between them and the invading English was complete.
Popham, Peter. (1996) A Model Architect: Zaha Hadid's Radical Plan for the Cardiff Opera House has Brought her International Fame. Why, then, has it been Rejected? The Independent (London). 2/11/96
James F. O'Gorman, Dennis E. McGrath. ABC of Architecture. Philadelphia: University of Pennsylvania Press, 1998. Document. October 2013.
Gardner, Helen, and Fred S. Kleiner. Gardner's Art Through the Ages: The Western Perspective. N.p., 2014. Print.
With the Pantheon being built over 1700 years ago, it’s amazing that architects are still using features and techniques from this work of architecture in modern creations. The use of this type of classical architecture will continue to be used in works for public space due to its remarkable exterior appearance and it’s long lasting structural durability. When both Jesse hall and the Pantheon are compared it is possible to see their similarities from the types of domes that top each, their external facades, and their interior plan. While they share many similarities, the differences that Bell and Binder used in their creation make this work of architecture unique to many other public spaces.
Delicate swirls and the elaborate patterns of the intricate symbols of Celtic art reflected the beauty of the Celtic culture since the days the Celts were introduced to the world. The most known age of the Celts was the La Tene age. During this time period, the Celts incorporated intricate geometric designs and stylized plants and animals into their crafts. Although halfway through the fifth century BCE, a different type of La Tene art was introduced and it tended to have curvilinear characteristics. In order to produce this ethereal beauty into their art, the Celts had used materials that were found in nature, used symbols and patterns, and themes that were essential and connected to everyday life.
On a positive note, there are designers who have accomplished what seems like the impossible and created spaces that stand timeless in their place. The Eiffel Tower, Grand Central Station, Sydney Opera House are just a few examples of spaces that provide a unique experience for the people and contribute to the identity of the city.
“L’auditorium asimmetrico” from the architecture journal “Abitare” briefly summarises the Opera House briefly as Hadid’s first building that has been attended by a high-level British diplomatic delegation at the opening ceremony.1 The unusual significance of this building hints its extraordinary structure and form. The design has been made up by two buildings sitting on a promenade facing to the Pearl River; symbolising the idea of geological crystallisation of two pebbles from the river.2 The main building includes the auditorium and administration space, while the smaller building serves various functions, opening up the space to a wider range of audience.3 The smaller building floats on the mirror pool reinforced the idea of the architecture being part of the cityscape as the water reflects the surrounding skyscrapers; literally blending the design into the city skyline.4 As the title of the article suggests, the Opera House’s asymmetrical auditorium is one of the most marvellous achievements by the architects as well as by the acousticians. The idea of the asymmetrical auditorium might have been carried on from the unbuilt Cardiff Opera House.5 The unique form of th...
St. Peters Basilica. (2009). Chapel of the Pieta. Retrieved April 15, 2011, from St. Peters
Relationship Between Art And Society: Mimesis. The relationship between art and society: Mimesis as discussed in the works of Aristotle, Plato, Horace and Longinus. The relationship between art and society in the works of Plato is based upon his idea of the world of eternal Forms. He believed that there is a world of eternal, absolute and immutable Forms (the world of the Ideal) and thought that this is proven by when man is faced with the appearance of anything in the material world, his mind is moved to a remembrance of the Idea or an absolute and immutable version of the thing he sees.