Wall Lamps by Thomas Johnson

Thomas Johnson, an English carver and furniture designer from the 18th century, has always been known for his gratuitous use of detail and his outstanding achievements in the British Rococo style. During the mid 18th century, primarily between 1755-58, Johnson released many of his ideas through design books, which included plans for furniture, girandoles, and even illustrations for Aesop's Fables.

Two of his better-known pieces include his 1757 pair of wall lamps, beautifully crafted of carved wood and bronze. Both lamps depict scenes of nature and culture in a relatively identical, mirroring fashion. Various components of nature include a donkey, much floral decoration, rocky terrain, and even the suggestion of wind (compliments of the windmill seen in the background). Images of culture include a person on a ladder, the windmill (which is seemingly composed of bricks and includes an arched doorway and window), the bag on the donkey's back (which implies it is a pack mule), and lastly what seems to be some sort of fire pit located on the ground.

Upon visiting his eminent pair of wall lights at the museum, the first thing that caught my attention was the overwhelming lack of symmetry (loyal to the Rococo style). Although both pieces can suggest a very weak sense of symmetry when placed next to each other, each lamp individually includes very few examples of symmetry. Also inspired by the Rococo style, each lamp is overwhelmed by three separate golden flowers whose stems twist and almost deform the overall structure of each piece. It can be assumed from these very slight deformities that Johnson intended to show nature's tendency to produce unpredictable, unique forms. Although fairly accurate and proportionate, Johnson's style of carving animals and humans seems to be very jovial considering the rounded and smooth forms that are used. Overall, the pieces present a very playful yet elegant aesthetic.

It is extremely apparent that Johnson wanted to put an emphasis on not only nature and culture individually, but also the relationship between the two. It seems as if each component of one subject is an advocate or support for another. Johnson aimed