Bead Making at Murano and Venice
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GEM FOCUS August 2020
GEM FOCUS August 2020 GOLDSTONE, SUNSTONE, AVENTURESCENCE; A SPARKLING ENIGMA OF CENTURIES... emstones with unusual optical effects are know as sunstone feldspar today. Goldstone is cre - defined as phenomenal gems. Their unusual ated by mixing microscopic copper platelets into Geffect can designate a variety within a molten glass. The sheen and earthy color of this species and add value. i.e., star sapphire. Synthetic material was ideal for Italian mosaics and more counterparts or simulants are often seen, especially affordable jewelry, whereas much larger blocks when the natural counterpart is particularly valuable were used to create ornamental objects such as such as natural alexandrite and color change syn - snuff bottles, small bowls or carved figurines. A thetic sapphire. Aventurescence is a phenomenon common story to its origin purports that the Italian caused by light reflecting micro platelets in a gem glass producers discovered this particular effect by and is easily recognizable from the glittering sheen- accident, but when this was is not clear. Accounts like effect. While green mica crystals in quartz cre - of the first production date vary from one source to ates aventurine quartz, hematite and ilmenite crys - another and are stated as from 11th century to 13th tals create the same effect in sunstone feldspar. century. It is true that this rather attractive Murano glass with reddish brown speckles was a popular Out of all the phenomena seen in gems, aventures - and expensive glass production in Italy for many cence, especially the yellow-brown type, has been centuries but it is hard to believe that sunstone the subject of a long-standing discussion. -
The Heritage Within
Aleksandar Pantić CREATIVE PRACTICE OF MOSAIC ART, THE HERITAGE WITHIN MA Thesis in Cultural Heritage Studies: Academic Research, Policy, Management. Central European University Budapest May 2018. CEU eTD Collection CREATIVE PRACTICE OF MOSAIC ART, THE HERITAGE WITHIN by Aleksandar Pantić (Republic of Serbia) Thesis submitted to the Department of Medieval Studies, Central European University, Budapest, in partial fulfillment of the requirements of the Master of Arts degree in Cultural Heritage Studies: Academic Research, Policy, Management. Accepted in conformance with the standards of the CEU. ____________________________________________ Chair, Examination Committee ____________________________________________ Thesis Supervisor ____________________________________________ Examiner CEU eTD Collection ____________________________________________ Examiner Budapest May 2018. CREATIVE PRACTICE OF MOSAIC ART, THE HERITAGE WITHIN by Aleksandar Pantić (Republic of Serbia) Thesis submitted to the Department of Medieval Studies, Central European University, Budapest, in partial fulfillment of the requirements of the Master of Arts degree in Cultural Heritage Studies: Academic Research, Policy, Management. Accepted in conformance with the standards of the CEU. ____________________________________________ External Reader CEU eTD Collection Budapest May 2018. CREATIVE PRACTICE OF MOSAIC ART, THE HERITAGE WITHIN by Aleksandar Pantić (Republic of Serbia) Thesis submitted to the Department of Medieval Studies, Central European University, Budapest, -
Bergstrom-Mahler Museum Marks 40Th Anniversary
President Vice President STANLEY B. KRUGER ANDREW SCOTT 5 Johnson Lane 26 Villa Drive Voorhees, NJ 08043 Ambler, PA 19002 (856) 751-7720 (215) 540-0510 [email protected] [email protected] Secretary Treasurer MARTIN MIKELBERG DON FORMIGLI 24315 Ann's Choice Way 455 Stonybrook Drive Warminster, PA 18974 Levittown, PA 19055 (215) 675-1639 (215) 945-5253 Volume 15 Number 2 www.dvpaperweights.org March 2008 Bergstrom-Mahler Museum Marks glass artist’s 40th anniversary in paperweight 40th Anniversary... design held at the Bergstrom-Mahler Museum in Neenah, Wisconsin on Thursday, September by Joan Ellen Parsley 27, 2007. On that beautiful fall evening, the [Editor’s Note: Joan Parsley is the Artistic Director Evangeline Bergstrom Chapter of the of Milwaukee’s Midwest “bande for early music”, Paperweight Collectors Association and more Musical Offering Ltd. She is an avid paperweight than 65 members of the Museum turned out for collector and a member of Delaware Valley a spectacular event with the artist and his Paperweight Collectors Association, the lovely wife, Catherine. The Museum is noted Evangeline Bergstrom (Wisconsin) Chapter of Paperweight Collectors Association, Inc. and a for the largest public showcase in America of member of the Bergstrom-Mahler Museum itself. Perthshire Paperweights, most of which were She is the daughter of glass artist Johne Parsley.] designed by the honoree. Beauty speaks from the heart. Marking his 40th anniversary in the field, the General Manager and Head Craftsman of the If that is the case as this author believes, then former Perthshire Paperweights Ltd., Crieff, the heart of Scottish Master Craftsman Peter Scotland, created a Limited Edition of 50 McDougall speaks volumes. -
Ghana's Glass Beadmaking Arts in Transcultural Dialogues
Ghana’s Glass Beadmaking Arts in Transcultural Dialogues Suzanne Gott PHOTOS BY THE AUTHOR EXCEPT WHERE OTHERWISE NOTED hanaian powder-glass beads first captured spread of West African strip-weaving technologies. my attention in 1990, when closely examin- With the beginnings of European maritime trade in the late ing a strand of Asante waist beads purchased fifteenth century, an increasing volume of glass beads and glass in Kumasi’s Central Market. Looking at the goods were shipped to trade centers along present-day Ghana’s complex designs of different colored glasses, Gold Coast,1 stimulating the growth of local beadworking and I was struck with the realization that each powder-glass beadmaking industries. The flourishing coastal bead had been skillfully and painstakingly crafted. This seem- trade achieved a more direct engagement between European Gingly humble and largely unexamined art merited closer study merchants and trading communities than had been possible and greater understanding (Fig. 1). I worked with Christa Clarke, with the trans-Saharan trade, and enhanced European abilities Senior Curator for the Arts of Global Africa at the Newark to ascertain and respond to local West African consumer pref- Museum, to develop the 2008–2010 exhibition “Glass Beads of erences. This interactive trade environment also facilitated the Ghana” at the Newark Museum to introduce the general public impact of the demands of Gold Coast consumers on European to this largely overlooked art (Fig. 2). The following study pro- product design and production, a two-way dynamic similar to vides a more in-depth examination of Ghanaian glass beadmak- the trade in African-print textiles (Nielsen 1979; Steiner 1985). -
Glassblowers of Venice Kept Their Art So Secret That It Almost Died out by Associated Press, Adapted by Newsela Staff on 02.11.16 Word Count 620
Glassblowers of Venice kept their art so secret that it almost died out By Associated Press, adapted by Newsela staff on 02.11.16 Word Count 620 Glassblower William Gudenrath puts enamel on a bowl with techniques used by Renaissance Venetians at the Corning Museum of Glass in Corning, New York, Jan. 22, 2016. Gudenrath spent decades researching how Renaissance glassmakers produced objects that are now considered works of art. Photo: AP/Mike Groll ALBANY, N.Y. — A modern-day glassblower believes he has unraveled the mysteries of Venetian glassmaking that was crafted during the Renaissance. The Renaissance was a cultural movement in Europe that lasted from the 1300s to the 1600s. During that period, glassmakers' secrets were closely guarded by the Venetian government. Anyone who spoke of them could be killed. Specially Skilled Craftsmen Today's glassblowers work with gas-fired furnaces and electric-powered ovens called kilns. Their studios are well lit and have proper air ventilation. The craftsmen of Murano, an island near Venice, Italy, did not have such technology. Yet they turned out pieces of art popular in museums today. The techniques, or the methods they used to make the objects, remained sought after for centuries. William Gudenrath spent years studying Venetian glass collections at American and European museums. He compared them with newer glasswork from Venice. He experimented on his own and traveled to Italy many times. Gudenrath combined all of his knowledge to produce an online guide. Guiding Modern Artists The guide is called "The Techniques of Renaissance Venetian Glassworking." It was recently posted on the website of the Corning Museum of Glass in New York. -
Bullseye Glass Catalog
CATALOG BULLSEYE GLASS For Art and Architecture IMPOSSIBLE THINGS The best distinction between art and craft • A quilt of color onto which children have that I’ve ever heard came from artist John “stitched” their stories of plants and Torreano at a panel discussion I attended a animals (page 5) few years ago: • A 500-year-old street in Spain that “Craft is what we know; art is what we don’t suddenly disappears and then reappears know. Craft is knowledge; art is mystery.” in a gallery in Portland, Oregon (page 10) (Or something like that—John was talking • The infinite stories of seamstresses faster than I could write). preserved in cast-glass ghosts (page 25) The craft of glass involves a lifetime of • A tapestry of crystalline glass particles learning, but the stories that arise from that floating in space, as ethereal as the craft are what propel us into the unknown. shadows it casts (page 28) At Bullseye, the unknown and oftentimes • A magic carpet of millions of particles of alchemical aspects of glass continually push crushed glass with the artists footprints us into new territory: to powders, to strikers, fired into eternity (page 31) to reactive glasses, to developing methods • A gravity-defying vortex of glass finding like the vitrigraph and flow techniques. its way across the Pacific Ocean to Similarly, we're drawn to artists who captivate Emerge jurors (and land on the tell their stories in glass based on their cover of this catalog) exceptional skills, but even more on their We hope this catalog does more than point boundless imaginations. -
Venetian Beads
BEADS: Journal of the Society of Bead Researchers Volume 10 Volume 10-11 (1998-1999) Article 9 1998 Venetian Beads Frank Hird Follow this and additional works at: https://surface.syr.edu/beads Part of the Archaeological Anthropology Commons, History of Art, Architecture, and Archaeology Commons, Science and Technology Studies Commons, and the Social and Cultural Anthropology Commons Repository Citation Hird, Frank (1998). "Venetian Beads." BEADS: Journal of the Society of Bead Researchers 10: 57-62. Available at: https://surface.syr.edu/beads/vol10/iss1/9 This Article is brought to you for free and open access by SURFACE. It has been accepted for inclusion in BEADS: Journal of the Society of Bead Researchers by an authorized editor of SURFACE. For more information, please contact [email protected]. VENETIAN BEADS Frank Hird Interesting accounts of the manufacture of Venetian glass It was in the thirteenth or fourteenth centuries beads turn up in the most unlikely places. The one repro historians do not agree upon the exact date-that duced here was published in The Girl's Own Paper for Febru bead-making was established at Murano, and through ary 1, 1896 (Vol. 17, No. 840, pp. 292-294). In addition to all the years during which Ven ice exercised her almost presenting a decent description ofthe manufacture ofdrawn and blown beads during the latter part of the 19th century, imperial sway, the glass manufacture, on this ugly and Mr. Hird gives us details concerning the setting in which the dirty little island, was one of her glories. The beadmakers and bead stringers worked. -
Beaded Jewelry Designs Class-A Piece of Delicate Valentines Day Gifts For
Beaded jewelry designs class-a piece of delicate valentines day gifts for her Via learning today’s beaded jewelry designs class, you will gain another method to bead some delicate valentines day gifts for her. While practicing the tutorial, you only need several inches of Tiger tail wire and a few pearlized Acrylic Beads and 12/0 Seed Beads. Giving peculiar valentines day gifts for her, to the special women, is an unexceptionable chance to get her a little bit more wild with joy. Not only for the Valentine’s Day on routine, but also for her birthday or Christmas, etc. Valentine’s Day is about romantic, but never underestimates the significant value of individual gifts. Hence, in this article, I will show you one of the numerous beaded jewelry designs classes relate to the unique occasion. Things you will need: 8mm Acrylic Beads-Imitation Shell & Pearl 8mm Rondelle Swarovski Crystal Beads 12/0 Seed Beads Crimp bead Earring hooks Tiger tail wire Side Cutting Plier Wire-cutter Plier How to make valentines day gifts for her? Step1: bead the first flower portion 1. Prepare 50cm long Tiger tail wire and then form a loop with 6 pieces of 12/0 Seed Beads; 2. Slide the following beads on outer wire tip in order: 8mm Pearlized Acrylic Bead*1, 12/0 Seed Bead, 8mm Pearlized Acrylic Bead*1, 12/0 Seed Bead. Next, cross both tips through another 8mm Pearlized Acrylic Bead; 3. Do the same with outer wire. Further, thread the inner tip through its adjacent seed bead. At last, cross both tips through one 8mm Pearlized Acrylic Bead again; 4. -
ORNAMENT 30.3.2007 30.3 TOC 2.FIN 3/18/07 12:39 PM Page 2
30.3 COVERs 3/18/07 2:03 PM Page 1 992-994_30.3_ADS 3/18/07 1:16 PM Page 992 01-011_30.3_ADS 3/16/07 5:18 PM Page 1 JACQUES CARCANAGUES, INC. LEEKAN DESIGNS 21 Greene Street New York, NY 10013 BEADS AND ASIAN FOLKART Jewelry, Textiles, Clothing and Baskets Furniture, Religious and Domestic Artifacts from more than twenty countries. WHOLESALE Retail Gallery 11:30 AM-7:00 PM every day & RETAIL (212) 925-8110 (212) 925-8112 fax Wholesale Showroom by appointment only 93 MERCER STREET, NEW YORK, NY 10012 (212) 431-3116 (212) 274-8780 fax 212.226.7226 fax: 212.226.3419 [email protected] E-mail: [email protected] WHOLESALE CATALOG $5 & TAX I.D. Warehouse 1761 Walnut Street El Cerrito, CA 94530 Office 510.965.9956 Pema & Thupten Fax 510.965.9937 By appointment only Cell 510.812.4241 Call 510.812.4241 [email protected] www.tibetanbeads.com 1 ORNAMENT 30.3.2007 30.3 TOC 2.FIN 3/18/07 12:39 PM Page 2 volumecontents 30 no. 3 Ornament features 34 2007 smithsonian craft show by Carl Little 38 candiss cole. Reaching for the Exceptional by Leslie Clark 42 yazzie johnson and gail bird. Aesthetic Companions by Diana Pardue 48 Biba Schutz 48 biba schutz. Haunting Beauties by Robin Updike Candiss Cole 38 52 mariska karasz. Modern Threads by Ashley Callahan 56 tutankhamun’s beadwork by Jolanda Bos-Seldenthuis 60 carol sauvion’s craft in america by Carolyn L.E. Benesh 64 kristina logan. Master Class in Glass Beadmaking by Jill DeDominicis Cover: BUTTERFLY PINS by Yazzie Johnson and Gail Bir d, from top to bottom: Morenci tur quoise and tufa-cast eighteen karat gold, 7.0 centimeters wide, 2005; Morenci turquoise, lapis, azurite and fourteen karat gold, 5.1 centimeters wide, 1987; Morenci turquoise and tufa-cast eighteen karat gold, 5.7 centimeters wide, 2005; Tyrone turquoise, coral and tufa- cast eighteen karat gold, 7.6 centimeters wide, 2006; Laguna agates and silver, 7.6 centimeters wide, 1986. -
Beads from the Hudson's Bay Company's Principal Depot, York Factory, Manitoba, Canada
BEADS: Journal of the Society of Bead Researchers Volume 25 Volume 25 (2013) Article 6 1-1-2013 Beads from the Hudson's Bay Company's Principal Depot, York Factory, Manitoba, Canada Karlis Karklins Gary F. Adams Follow this and additional works at: https://surface.syr.edu/beads Part of the Archaeological Anthropology Commons, History of Art, Architecture, and Archaeology Commons, Science and Technology Studies Commons, and the Social and Cultural Anthropology Commons Repository Citation Karklins, Karlis and Adams, Gary F. (2013). "Beads from the Hudson's Bay Company's Principal Depot, York Factory, Manitoba, Canada." BEADS: Journal of the Society of Bead Researchers 25: 72-100. Available at: https://surface.syr.edu/beads/vol25/iss1/6 This Article is brought to you for free and open access by SURFACE. It has been accepted for inclusion in BEADS: Journal of the Society of Bead Researchers by an authorized editor of SURFACE. For more information, please contact [email protected]. BEADS FROM THE HUDSON’S BAY COMPANY’S PRINCIPAL DEPOT, YORK FACTORY, MANITOBA, CANADA Karlis Karklins and Gary F. Adams There is no other North American fur trade establishment whose half a dozen times in two separate international conflicts. longevity and historical significance can rival that of York Factory. It witnessed a naval engagement and suffered three direct Located in northern Manitoba, Canada, at the base of Hudson Bay, attacks. The factory was rebuilt seven times and was the it was the Hudson’s Bay Company’s principal Bay-side trading base of operations for such fur trade personalities as Pierre post and depot for over 250 years. -
ART HISTORY of VENICE HA-590I (Sec
Gentile Bellini, Procession in Saint Mark’s Square, oil on canvas, 1496. Gallerie dell’Accademia, Venice ART HISTORY OF VENICE HA-590I (sec. 01– undergraduate; sec. 02– graduate) 3 credits, Summer 2016 Pratt in Venice––Pratt Institute INSTRUCTOR Joseph Kopta, [email protected] (preferred); [email protected] Direct phone in Italy: (+39) 339 16 11 818 Office hours: on-site in Venice immediately before or after class, or by appointment COURSE DESCRIPTION On-site study of mosaics, painting, architecture, and sculpture of Venice is the primary purpose of this course. Classes held on site alternate with lectures and discussions that place material in its art historical context. Students explore Byzantine, Gothic, Renaissance, Baroque examples at many locations that show in one place the rich visual materials of all these periods, as well as materials and works acquired through conquest or collection. Students will carry out visually- and historically-based assignments in Venice. Upon return, undergraduates complete a paper based on site study, and graduate students submit a paper researched in Venice. The Marciana and Querini Stampalia libraries are available to all students, and those doing graduate work also have access to the Cini Foundation Library. Class meetings (refer to calendar) include lectures at the Università Internazionale dell’ Arte (UIA) and on-site visits to churches, architectural landmarks, and museums of Venice. TEXTS • Deborah Howard, Architectural History of Venice, reprint (New Haven and London: Yale University Press, 2003). [Recommended for purchase prior to departure as this book is generally unavailable in Venice; several copies are available in the Pratt in Venice Library at UIA] • David Chambers and Brian Pullan, with Jennifer Fletcher, eds., Venice: A Documentary History, 1450– 1630 (Toronto: University of Toronto Press, 2001). -
Guide to Places of Interest
Guide to places of interest Lido di Jesolo - Venezia Cortina Oderzo Portogruaro Noventa di Piave Treviso San Donà di Piave Caorle Altino Eraclea Vicenza Jesolo Eraclea Mare Burano Cortellazzo Lido di Jesolo Dolo Venezia Verona Padova Cavallino Mira Cà Savio Chioggia Jesolo and the hinterland. 3 Cathedrals and Roman Abbeys . 10 Visits to markets Concordia Sagittaria, Summaga and San Donà di Piave Venice . 4 From the sea to Venice’s Lagoon . 11 St Mark’s Square, the Palazzo Ducale (Doge’s Palace) and the Caorle, Cortellazzo, Treporti and Lio Piccolo Rialto Bridge The Marchland of Treviso The Islands of the Lagoon . 5 and the city of Treviso . 12 Murano, Burano and Torcello Oderzo, Piazza dei Signori and the Shrine of the Madonna of Motta Verona and Lake Garda. 6 Padua . 13 Sirmione and the Grottoes of Catullo Scrovegni Chapel and Piazza delle Erbe (Square of Herbs) The Arena of Verona and Opera . 7 Vicenza . 14 Operatic music The Olympic Theatre and the Ponte Vecchio (Old Bridge) of Bas- sano del Grappa Cortina and the Dolomites . 8 The three peaks of Lavaredo and Lake Misurina Riviera del Brenta . 15 Villas and gardens The Coastlines . 9 Malamocco, Pellestrina, Chioggia 2 Noventa di Piave Treviso San Donà di Piave Eraclea Caorle Jesolo Eraclea Mare Lido di Jesolo Cortellazzo Cavallino Jesolo and the hinterland The lagoon with its northern appendage wends its way into the area of Jesolo between the river and the cultivated countryside. The large fishing valleys of the northern lagoon extend over an area that is waiting to be explored. Whatever your requirements, please discuss these with our staff who will be more than happy to help.