la tene art

La Tene.

La Tene art is evidence that those known as the Celts were a highly artistic people and, contrary to contemporary literature, a great civilisation.La Tene, a site beside Lake Neuchatel in central Switzerland has come to mean both a style of Celtic artwork and also a period of European history, approximately 600 – 100 BCE.The artwork was originated by a small group of Celts living in central Europe and through the migrations of the tribes and trade with other cultures spread across the continent.It is a particular style of artwork, metalwork that ignored realism and delved into worlds of fantasy and abstract. The Turoe Stone (c.150-250 BCE) Archaeology and the written sources present a consistent picture of expansion and settlement across the European mainland.The art of these people thus is clearly rooted in the Mediterranean. Metal bowls, helmets, swords and flagons, mostly discovered in burial grounds, were decorated with a highly sophisticated level of skill.At first, the designs were based on previous Hallstatt traditions, repetitive triangles and lozenges, but gradually the influence of the eastern Mediterranean and the Etruscans began to emerge. Discovered in a bog in Denmark, its sides and circular base are decorated in relief with numerous mythological and ritual scenes, featuring figures of real and imaginary animals. The latter, far more widespread, is found most commonly, though by no means exclusively, on scabbards. Artisans needed crucibles of varying sizes and tongs for holding them when they were filled with molten metal. Because each style has its own formatting nuances that evolve over time and not all information is available for every reference entry or article, Encyclopedia.com cannot guarantee each citation it generates. Celts were a people who inhabited western and central Europe during the pre-Roman Iron Age (first millennium b.c.). As on the European mainland, the finest art, notably, is lavished on high-status items, such as weapons, shields, and horse trappings, which clearly reflect considerations of display and ostentation.There are very few likely imports from this period. Today there is a tendency to use the more neutral term "vegetal style" to describe the new artistic trends, especially in view of the current emphasis on northern Italy as critical in the genesis of the style.Although Mediterranean elements persisted in this phase of La Tène ornamentation (which may be seen as beginning around the middle of the fourth century b.c. Difficulty level: Semi Hard Listen to the recording about The Iron Age and La Téne Art and complete the sentences below, using NO MORE THAN THREE WORDS AND/ OR A NUMBER for each answer: The Iron Age a. It was not until about the middle of the fifth century b.c., with the blossoming of the second phase of It has been said that La Tène art had no genesis; it came into the world in fully developed form, with a distinctive personality. On the boss, strange, contorted, stylized quadrupeds lurk in the undergrowth of an otherwise abstract, curvilinear jungle.There are other fine shields, including three from the Thames and one from the River Witham (fig. 1), have been put forward, but no objects of definitely Scythian manufacture have been found in Celtic areas. thus can be seen as almost entirely a product of local workshops. How intentional are the embedded shapes, to what extent are they no more than forms created by the mere accidental juxtaposition of curving lines? Below are different pieces that were recovered. There are striking examples.

HISTORY OF SCULPTURE For a guide to the chronology and evolution of 3-D art, see: Sculpture History.

In the earlier phases, coral, probably from the Mediterranean, was used; later, red enamel/glass was substituted. Artwork displayed a more Scandinavian influence, almost eclipsing Celtic style. There must have been apprentices who carried out the basic tasks, learning from the master the many skills necessary for successful work. It features complex designs of Continental sword style derivation, comprising writhing scrolls that undulate across each other in ceaseless motion. the momentum of Celtic expansion had run its course, and the burgeoning of Imperial Rome rapidly subsumed the exuberance and individuality of Celtic art. The point is illustrated by the engraved ornament on the bronze covering of an iron sword scabbard from Filottrano in northern Italy, probably of the fourth century b.c., which bears a series of writhing S figures along its length. Therefore, it’s best to use Encyclopedia.com citations as a starting point before checking the style against your school or publication’s requirements and the most-recent information available at these sites:Ancient Europe, 8000 B.C.

Especially important centers were present in Switzerland and Hungary, but there were others, certainly in parts of France, and there also were insular schools.There is considerable variety in the art of the scabbards, which is concentrated most frequently at the mouth. Such wealth is evident in the rich graves containing imported Mediterranean produce and is illustrated dramatically by an extraordinary bronze couch, probably of northern Italian manufacture, found in a warrior burial at Hochdorf in southwestern Germany. Apart from accepting the late settlement of southeastern England by Belgic peoples, however, modern scholarship places heavy emphasis on indigenous development. In Britain at this time a distinctive series of elaborately decorated bronze mirrors occurs, characterized by varied and at times complex combinations of compass-drawn curves, most often filled with incised basketry. The symbolic leaf crown surmounts this carving, too.Human representations on a fifth century b.c. Curves combine in birdlike forms, and human faces appear embedded in the seemingly abstract scrolls. This is an abstract curvilinear style of decoration. Spectacularly rich burials in parts of Germany, France, and Switzerland have yielded the finest objects, one outstanding piece now in the museum of Besançon in France (probably taken from a plundered burial). The curvilinearThis spectacular early development of Celtic art on the European mainland is scarcely present on the islands to the west. There are other insular innovations—on both islands—such as bronze horse bits, often with elaborate cast decoration; finely made spun-bronze vessels; and the late, specifically British developments in scabbard decoration.

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