Celtic Ornament no. 1. Lapidary ornamentation by Owen Jones

Celtic Ornament no. 1. Lapidary ornamentation - Owen Jones -

Artwork Information

TitleCeltic Ornament no. 1. Lapidary ornamentation
ArtistOwen Jones
Art MovementArt Nouveau (Modern)

About Celtic Ornament no. 1. Lapidary ornamentation

“Celtic Ornament no. 1. Lapidary ornamentation” is an exquisite artwork by Owen Jones, contributed to the influential collection “The Grammar of Ornament” published in 1856. This artwork belongs to the Art Nouveau movement, more specifically categorized within the Modern style, and is emblematic of the genre of design, which Owen Jones meticulously explored and presented in his comprehensive work on ornamental patterns from various historical periods and cultures.

The artwork is an intricate collection of Celtic patterns characterized by interlacing lines and complex knotwork. The design is monochromatic, emphasizing the elaborate interplay of forms and shapes that define Celtic ornamental art. Several sections are depicted, each with its distinct motif that, while varying in form, retains a stylistic coherence with the other elements. The most prominent feature of the artwork is its symmetrical and geometric precision, showcasing a high degree of craftsmanship and an appreciation for patterns that can be replicated and adapted for various artistic purposes.

Intricate weaving patterns form endless loops and knots, giving the impression of perpetual continuity, a hallmark of Celtic art. Circular motifs, spirals, and key patterns also feature prominently, capturing the essence of nature and eternity, themes common to the visual vocabulary of Celtic design. The repeated elements and symmetry seen throughout the designs not only provide aesthetic pleasure but also suggest meanings of interconnectedness and the cyclic nature of life, which are often associated with this type of ornamentation.

Formally, this piece by Owen Jones is not only a representation of historical decorative art but also serves as an educational reference, highlighting the importance and influence of cultural motifs in design practices. It reflects Jones’s dedication to understanding and preserving the ornamentation of past civilizations while also seeking to inspire designers of his own era, offering them a wealth of visual vocabulary to draw upon for their creative endeavors.

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