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ACANTHUS Sculpture

DA CAPO SCULPTURE

Spain

Sculpture, Stone on Stone

Size: 14.2 W x 10 H x 14.2 D in

This artwork is not for sale.
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About The Artwork

The third of the Greek orders was also the last one to appear (4th century B.C) The first examples of the use of Corinthian order are in the Temple of Apollo Epicurius at Bassae and in the choragic monument of Lysicratesin Athens. The Corinthian order was not a structural system, like Doric and Ionic, but it was just decorative and its effect stemmed almost entirely from its well-prepared floral capital. This capital was a design by the Athenian sculptor Callimachus. According to Vitruvius and, and looking at its original shape it could have been worked in bronze. Apart from this capital, the rest of the elements took were borrowed from the Ionic order. From the Hellenistic period on, the idea of the Corinthian usewas starting to becarried out but it was Romans that connected all the elements and perfected it. Vitruvius stated that the Corinthian order imitated the “grace of a damsel”. The over all effect is all elegance and beauty. The acanthus is a plant rich in symbolism whose name comes from the Greek “akantha” (thorn). These spines represent difficulties in life and they also make reference to the triumph over adversities. In Greece, the acanthus had a funeral connotation and their leaves decorate graves and mausoleums, representing: immortality, the presence of the live memory beyond death. Besides, their leaves are above the perennial ones. As they are carved in stone, they become immortal. The thorny acanthus leaves disclose something inspiring: difficulties will one day turn into stepping stones to the top and behind every challengeis a new opportunity. The discovery of the Corinthian capital was supposedly: A Corinthian maid, who was too old to get married, died of an illness. After her funeral rites, her nursemaid took some glasses that the deceased really liked to place all of them in a wicker basket and took them to her grave where she placed them. Hoping that they will be in perfect conditions for a long time, she covered them with tiles. She placed the basket on the root of an acanthus plant by chance. Over the time, the roots -crushed by the weight of the basket- started to grow around the grave. When the spring began, its stems were growing around the basket so quickly that they could already be noticed under the tiles. This forced them to assume curved shapes or volutes in their ends. Callimachus, when passing by the tomb, was totally amazed by the curious shape of the leaves and wanted to imitate it. The capital has got two rows of eight acanthus leaves and a perfect shape. From the top, stems ending in volutes or helix sprout appear. They hold the abacus (upper stone) that distinctively owns four concave faces. In the middle of each face there is an “antemiyon”(honeysuckle design). Ad astra per aspera (to the stars through hardships).

Details & Dimensions

Sculpture:Stone on Stone

Original:One-of-a-kind Artwork

Size:14.2 W x 10 H x 14.2 D in

Shipping & Returns

Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.

Firstly, beauty and then, beauty, that is the order. Da Capo Sculpture is an aesthetic laboratory in a constant search of beauty (the way we think about it which promotes a handmade and delicate work. Such task avoids rhetoric, lies and adulation. Our designs can be summed up in the expression “fine art”. We often find that preferences and inspiration for our production come from old creations, decorative motifs, architectural elements and classic concepts, all of them of considerable charm and worthy of being replicated. Our firm intention is working in what we consider that enchants public despite the years. With the intention of offering everything above mentioned, we trace the origin and eliminate what seems unnecessary of the raw material. We consciously break the stone, make its scars stand out and praise its imperfections. In short, we show instead of hiding. This hypothesis could not be formulated without the skills of the one who took chisels and pointers as his own family, and is still holding them more than two decades later. Similarly, hiss kills require as much strength as control, care and ability. The tools, which seem to be an extension of his hands, result in the aesthetic experience showing great discipline. It was already announced: it is not what we know, but what we live. Here forth, we want you to be part of the effect that contemplating beauty brings about and the emotion hidden in Da Capo Escultura.

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