Printed in Germany
Latin America is a diverse region with a rich cultural heritage, and its traditional patterns reflect this diversity. Here are some types of Latin American patterns from various countries across the region: Aztec Patterns (Mexico): Aztec art and culture have influenced Mexican patterns, which often feature geometric shapes, stylized animals, and intricate designs inspired by nature. These patterns are seen in textiles, pottery, and architectural ornamentation. Inca Patterns (Peru): Inca civilization left behind a rich artistic legacy, and Peruvian patterns often incorporate motifs inspired by Inca art, such as geometric shapes, stylized animals like llamas and condors, and symbols representing the sun and other natural elements. Mayan Patterns (Guatemala, Honduras, Belize): Mayan culture has a profound influence on the patterns found in countries like Guatemala, Honduras, and Belize. Mayan patterns often feature geometric designs, intricate motifs inspired by nature, and symbols with religious or cultural significance. Colonial Patterns (Various Countries): Patterns from the colonial era in Latin America often feature a blend of European and indigenous influences. These patterns may include floral motifs, architectural elements, and symbols of religious significance. Mola Patterns (Panama, Colombia): Molas are traditional textile panels made by the Kuna people of Panama and Colombia. These panels feature intricate layers of fabric with cut-out designs, often depicting animals, plants, and geometric shapes. Zapotec Patterns (Mexico): The Zapotec civilization in Oaxaca, Mexico, has a rich tradition of weaving intricate patterns into textiles using natural dyes. Zapotec patterns often feature geometric designs and motifs inspired by nature, such as animals and plants. Andean Textile Patterns (Bolivia, Ecuador): Andean textiles are renowned for their vibrant colors and intricate patterns. These patterns often incorporate symbols of Andean cosmology, such as the chakana (Inca cross), as well as geometric designs and motifs inspired by nature. Candombe Patterns (Uruguay): Candombe is a traditional Afro-Uruguayan music and dance style, and its patterns often feature rhythmic designs inspired by the music and movement of the dance. Taino Patterns (Caribbean): The Taino people were indigenous inhabitants of the Caribbean islands, and their art often featured patterns inspired by nature, such as plants, animals, and symbols representing spiritual beliefs. Unleash your creativity with our captivating Geometric Seamless Pattern Digital! Perfect for adding a contemporary twist to any project, this versatile design boasts seamless integration, making it ideal for backgrounds, textiles, and digital artwork. Crafted with precision and attention to detail, each element seamlessly flows into the next, creating a visually stunning mosaic of shapes and colors. Whether you're a seasoned designer or a DIY enthusiast, our Geometric Seamless Pattern Digital is sure to elevate your creations to new heights. Download now and let your imagination run wild!
Title within ornamental border in colors
Text-books upon architecture and ornament: p. 162
Identifier: handbookoforname1900meye Title: Handbook of ornament; a grammar of art, industrial and architectural designing in all its branches, for practical as well as theoretical use Year: 1900 (1900s) Authors: Meyer, Franz Sales, 1849- Subjects: Decoration and ornament Art objects Publisher: New York, B. Hessling Contributing Library: Wellesley College Library Digitizing Sponsor: Wellesley College Library View Book Page: Book Viewer About This Book: Catalog Entry View All Images: All Images From Book Click here to view book online to see this illustration in context in a browseable online version of this book. Text Appearing Before Image: The Vertebrate Band, &c. 10 Plate 93. 148 BANDS. Text Appearing After Image: Plate 94. The Undulate Band. BANDS Note About Images Please note that these images are extracted from scanned page images that may have been digitally enhanced for readability - coloration and appearance of these illustrations may not perfectly resemble the original work.
Discover the Timeless Beauty of Art Nouveau · Learn the Patterns, Colors, and Designs · Art Nouveau vs. Art Deco · Art Nouveau Interior Design and Furniture
Text-books upon architecture and ornament: p. 162
Book digitized by Google from the library of Oxford University and uploaded to the Internet Archive by user tpb.
In my post on Ada Louise Huxtable I mentioned Louis Sullivan, a brilliant, complex but flawed architect who was a leader in the break from Beaux Arts stagnation in the late 19th century. In his later life, when large commissions declined, he took to theoretical thinking, alcohol and writing. One result of this creative decline was the beautiful little book entitled A Systemof Architectural Ornament, According with a Philosophy of Man’s Powers. The title is almost as long as the book, but the ornamental illustrations in it are wonderful examples of the creative process of a true genius. Featuring a book on 2 dimensional ornamentation might seem off topic on this blog, but I have two reasons. First, the illustrations are meant for the creation of 3D bas-relief sculpture; and you will see that he renders the designs to show depth. Second, the designs are excellent examples of elaboration from simple themes; an idea that I will be exploring in my composition posts. If you are interested in the life of Sullivan there are plenty of books and internet sites beginning with Wikipedia. After he has outlined a personal philosophy in the book, he takes the reader on a tour of his fertile mind. Like a good architect he develops a simple concept through obvious steps to reach a beautiful rationality. Like all good art, it starts with the real world, and elaborates in both expected and unexpected ways. The theme is stated, then elaborated, harmonized and complimented like a musical score. He is breathtaking is his ability to show the different directions a theme can go depending on the emphasis that is taken. He would have been at home with computer generated fractals. His designs sometimes resemble engineering drawings… And other times suggest Baroque ornamentation. At times he reinvents the Art Nouveau which was popular in his time… At other times it suggests something his contemporary, Antonio Gaudi might have been working on. In some examples he suggests the application of ornament to actual buildings. In others he seems to be channeling the illuminated manuscripts lovingly painted by his Irish ancestors at Kells and Iona. This final design is relatively simple compared to the preceding ones, but it is interesting in that it was reproduced in bronze on Sullivan’s monument at Graceland Cemetery in Chicago. The monument is a late addition, since Sullivan died poor and forgotten, 20 years after his advances in high rise design had brought him fame. Ada Louise Huxtable summarizes his legacy in a 1967 reprint of Sullivan’s book: His contemporaries thought his ornament saved his off-beat solutions from cold and incomprehensible unfamiliarity. His heirs of the 1930’s rejected it as traditional trimming and preferred to admire the bare upper stories of his buildings. Today, we return to it with gratitude for its undeniable sensuous beauty, seeing it as the catalyst between structure and expression that made Sullivan’s famous dictum “form follows function” neither the sterile nor the limited doctrine of its later interpreters. When the Garrick Theater was demolished in the early 1960’s, pieces of its ornament went to museums across the country. Bootlegged bits are prized by private collectors. The story of modern architecture after Sullivan is the search for the way back to the logic, strength, sensitivity, and richness of his early, still unbettered solutions. In 1990 I had the pleasure of working at 65 Bleecker Street in New York City. I say pleasure because it is better known as Louis Sullivan’s 1899 Bayard Building. It has the spare, structurally honest framework you would expect from the man who wrote “form ever follows function”. But, in addition you are treated to Sullivan’s Celtic exuberance, with swirling leaves, gaping lions and angels under the cornice. Before I left that job I took a memento in the form of the pastel drawing you see above. Inspiration - Jean-LeonGerome Inspiration- The Dreams of Lebbius Woods Inspiration- Sargent & Structures Inspiration- Louis Sullivan & Ornamentation Inspiration- Bertram Grosvenor Goodhue Inspiration- Winslow Homer Inspiration- Dore & value studies Inspiration- Hugh Ferriss Inspiration- Waterhouse & Color Inspiration- Bierstadt & Atmosphere Inspiration- John C. Wenrich Inspiration - Cyril Farey
In my post on Ada Louise Huxtable I mentioned Louis Sullivan, a brilliant, complex but flawed architect who was a leader in the break f...
Today I’m sharing 50 (more) free wall art printables! I shared over 50 of my favorite instant art printables late last year, and everyone really enjoyed
Title vignette
Printed in Germany
Includes bibliographical references (p. [627]-629) and index
229 p. : ill. ; 33 cm., trade catalog
This is an excerpt from "Carving the Acanthus Leaf" by Mary May.
Identifier: handbookoforname1900meye Title: Handbook of ornament; a grammar of art, industrial and architectural designing in all its branches, for practical as well as theoretical use Year: 1900 (1900s) Authors: Meyer, Franz Sales, 1849- Subjects: Decoration and ornament Art objects Publisher: New York, B. Hessling Contributing Library: Wellesley College Library Digitizing Sponsor: Wellesley College Library View Book Page: Book Viewer About This Book: Catalog Entry View All Images: All Images From Book Click here to view book online to see this illustration in context in a browseable online version of this book. Text Appearing Before Image: The Vertebrate Band, &c. 10 Plate 93. 148 BANDS. Text Appearing After Image: Plate 94. The Undulate Band. BANDS Note About Images Please note that these images are extracted from scanned page images that may have been digitally enhanced for readability - coloration and appearance of these illustrations may not perfectly resemble the original work.
