Contemporary Jason Jacques Gallery: Then and Now
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Competing English, Spanish, and French Alabaster Trade in Europe Over Five Centuries As Evidenced by Isotope Fingerprinting
Competing English, Spanish, and French alabaster trade in Europe over five centuries as evidenced by isotope fingerprinting W. Kloppmanna,1, L. Lerouxb, P. Brombletc, P.-Y. Le Pogamd, A. H. Coopere,2, N. Worleyf,2, C. Guerrota, A. T. Montecha, A. M. Gallasa, and R. Aillaudg aBRGM (Bureau de Recherches Géologiques et Minières, French Geological Survey), 45060 Orléans, France; bCentre de Recherche sur la Conservation- Laboratoire de Recherche des Monuments Historiques (CRC-LRMH) USR3224, 77420 Champs-sur-Marne, France; cCentre Interdisciplinaire de Conservation et Restauration du Patrimoine (CICRP), Belle-de-Mai, 13003 Marseille, France; dDépartement des Sculptures, Musée du Louvre, 75058 Paris, France; eRetired from British Geological Survey, Keyworth, Nottingham, NG12 5GG, United Kingdom; fRetired from British Gypsum, Nottingham, NG16 AL, United Kingdom; and gLa Touche, 38220 Notre-Dame-de-Mésage, France Edited by Thure E. Cerling, University of Utah, Salt Lake City, UT, and approved September 20, 2017 (received for review May 5, 2017) A lack of written sources is a serious obstacle in the reconstruction of 1414 (10, 12). After the banning of religious representations, the medieval trade of art and art materials, and in the identification shiploads of alabaster artworks were sent to France (13). In of artists, workshop locations, and trade routes. We use the isotopes England, only a few sculptures escaped the plaster furnaces by of sulfur, oxygen, and strontium (S, O, Sr) present in gypsum being hidden and were retrieved centuries later (14). In contrast, alabaster to unambiguously link ancient European source quarries western and northern France was inundated with outlawed and areas to alabaster artworks produced over five centuries (12th– English artworks. -
Ford Ceramic Arts Columbus, Ohio
The Journal of the American Art Pottery Association, v.14, n. 2, p. 12-14, 1998. © American Art Pottery Association. http://www.aapa.info/Home/tabid/120/Default.aspx http://www.aapa.info/Journal/tabid/56/Default.aspx ISSN: 1098-8920 Ford Ceramic Arts Columbus, Ohio By James L. Murphy For about five years during the late 1930s, the combination of inventive and artistic talent pro- vided by Walter D. Ford (1906-1988) and Paul V. Bogatay (1905-1972), gave life to Ford Ceramic Arts, Inc., a small and little-known Columbus, Ohio, firm specializing in ceramic art and design. The venture, at least in the beginning, was intimately associated with Ohio State University (OSU), from which Ford graduated in 1930 with a degree in Ceramic Engineering, and where Bogatay began his tenure as an instructor of design in 1934. In fact, the first plant, begun in 1936, was actually located on the OSU campus, at 319 West Tenth Avenue, now the site of Ohio State University’s School of Nursing. There two periodic kilns produced “decorated pottery and dinnerware, molded porcelain cameos, and advertising specialties.” Ford was president and ceramic engineer; Norman M. Sullivan, secretary, treasurer, and purchasing agent; Bogatay, art director. Subsequently, the company moved to 4591 North High Street, and Ford's brother, Byron E., became vice-president. Walter, or “Flivver” Ford, as he had been known since high school, was interested primarily in the engineering aspects of the venture, and it was several of his processes for producing photographic images in relief or intaglio on ceramics that distinguished the products of the company. -
U.S. Pottery: by Company
U.S. POTT ERY: BY COMPANY 137 Understanding Roseville Pottery. Mark Santa Barbara Ceramic Design: Art Pottery Treasure Craft Pottery & Pottery Craft Bassett. Over 800 color photos display Roseville from America’s Riviera. Terry Gerratana. This Stoneware. George A. Higby, ISA. Over 650 Pottery artware, particularly the Artcraft, Cherub is the story of Santa Barbara Ceramic Design color photos document Treasure Craft and Cameo, Donatello, Pine Cone Modern, and (SBCD) and how a studio pottery defi ned by one Pottery Craft ceramics, with Disneyana items, Wincraft lines and Della Robbia and Olympic person producing hand thrown, hand decorated 200+ novelty cookie jars, Hawaiiana, fi gurines, items. The text provides a company history pottery evolved into a full-blown production and dinnerware lines, and including works by from 1890 through 1954, reveals the key roles pottery with distinct colorways, shapes, and Ray Murray, Don Winton, and Robert Maxwell. of famous staff members, and shows previously designs. This profi le captures the voices of the Information on manufacturers’ marks, look-alike unpublished manufacturer’s marks. creative forces behind SBCD. products, and values in the captions are included. Size: 8 1/2" x 11" • 800+ color & 70 b/w photos Size: 8 1/2" x 11" • 400 color images • 256 pp. Size: 8 1/2" x 11" • 665 color photos Price Guide/Index • 288 pp. ISBN: 978-0-7643-3888-5 • hard cover • $39.99 Price Guide • 176 pp. ISBN: 0-7643-1659-1 • hard cover • $39.95 Schiffer LTD ISBN: 0-7643-2072-6 • soft cover • $29.95 Bassett’s Roseville Prices. -
Ceramics Monthly Jan86 Cei01
William C. Hunt........................................ Editor Barbara Tipton ...................... Associate Editor Robert L. Creager ........................ Art Director Ruth C. Butler............................. Copy Editor Valentina Rojo ...................... Editorial Assistant Mary Rushley................ Circulation Manager Mary E. Beaver. Circulation Assistant Jayne Lohr .................... Circulation Assistant Connie Belcher .... Advertising Manager Spencer L. Davis.............................. Publisher Editorial, Advertising and Circulation Offices 1609 Northwest Boulevard Box 12448, Columbus, Ohio 43212 (614) 488-8236 Ceramics Monthly (ISSN 0009-0329) is published monthly except July and August by Professional Publications, Inc.—S. L. Davis, Pres.; P. S. Emery, Sec.: 1609 North west Blvd., Columbus, Ohio 43212. Second Class postage paid at Columbus, Ohio. Subscription Rates:One year SI8, two years $34, three years $45. Add $5 per year for subscriptions outside the U.S.A. Change of Address:Please give us four weeks advance notice. Send both the magazine wrapper label and your new address to: Ceramics Monthly, Circulation Office, Box 12448, Columbus, Ohio 43212. Contributors: Manuscripts, photographs, color separations, color transparencies (in cluding 35mm slides), graphic illustrations, texts and news releases dealing with ceramic art and craft are welcome and will be con sidered for publication. A booklet describing procedures for the preparation and submis sion of a manuscript is available upon re quest. Send manuscripts and correspondence about them to: Ceramics Monthly, The Ed itor, Box 12448, Columbus, Ohio 43212. Telecommunications and Disk Media: Ceramics Monthly accepts articles and other data by modem. Phone us for transmission specifics. Articles may also be submitted on 3.5-inch microdiskettes readable with an Ap ple Macintosh computer system. Indexing:Articles in each issue of Ceramics Monthly are indexed in the Art Index. -
Rings, Kings, Saints and Toads Protective and Healing Functions of Late Medieval Amulet Rings in England
Rings, Kings, Saints and Toads Protective and Healing Functions of Late Medieval Amulet Rings in England In 1441, Margaret Paston was expecting her first child. Anxiously, she wrote to her husband John in London: ‘I pray that you will wear the ring with the image of Saint Margaret that I sent you for a remembrance until you come home.’1 In asking her husband to wear a ring emblazoned with the patron saint of childbirth to support her in her time of need (e.g. Fig. 1), Margaret Paston was engaging with a culture of healing and devotion in late medieval England that was centred around the amuletic use of rings. (Fig. 1, a St Margaret ring which bears similarities to the Paston Ring, 15thc, British Museum, AF.910) This use of rings was part of a wider practice of employing jewellery as amulets in medicine. Pendants, brooches, bracelets, diadems, belts and hair pins were emblazoned with holy figures, sacred inscriptions and precious stones, all of which conveyed the wearer’s wealth and piety, but also afforded a variety of protective functions through expressing their devotion. Illness or misfortune was often linked to punishment and sin in the middle ages and adorning the body with holy words and images was considered an effective method of devotional healing. These accessories could provide a range of protections, such as shielding against plague, dampening fevers, staunching blood or even protecting from occult practices. However, to consider these amulets as simply products of folk beliefs and superstitions is to underestimate their position in late medieval medicine and devotion. -
Ceramics and Its Dimensions Introduction
CERAMICS AND ITS DIMENSIONS INTRODUCTION Ceramics have always played a prominent role in the life of people in every European Country. Its products were items used on daily basis for decoration or representation; they were and are still present in private homes as well as public areas in towns and villages. Ceramics in Europe have been shaped by the strong interdependency in Europe’s cultural region, techniques and colours, as well as by being used in a historical-cultural context such as for eating and drinking, decoration or architecture. Ceramics connect people, but they also enable regional differences, such as traditions, life-styles, and social or economic behaviours to be expressed and therefore develop an indi- vidual identity. Thanks to its characteristics and design possibilities, ceramics plays an outstanding role in the lives of people and will continue to do so. The past few decades have changed both Europe and the world presenting new social and economic challenges. Over the course of globalisation, our lifestyles have changed and are now closer to each other than ever before. There is also a real cultural interchange which is also giving an impact on the design of European ceramic. This ambitious project will connect museums, architects, designers, industry, and stakeholders from different European countries to explore the material according to its cultural, historical, technical, and artistic aspects. The course of the project will be punctuated by a series of events: exhibitions, work- shops, symposiums in all partner countries to encourage knowledge in the field of ceramics and to develop an inter-cultural dialogue between European ceramics regions. -
February 5, 2002 - JANUARY 5, 2003
february 5, 2002 - JANUARY 5, 2003 WINTER PARK, FLORIDA American Terra Cotta and Ceramic lines, exotic and extremely ornamental Art Nouveau refers to a style that developed in the last Company [Teco] (1895 - 1921) forms with whiplash and tendril two decades of the 19th century. It waned quickly and Pottery in Terra Cotta, Illinois. designs, sometimes dusted with gilt. Founder William Day Gates (1852- virtually disappeared by World War I. During its peak at 1935), a lawyer, won two gold medals Ashbee, Charles Robert (1863 – 1942) the turn of the century, Art Nouveau revolutionized the for his crystalline glaze art ware at the English architect, interior designer, decorative arts and architecture. St. Louis world’s fair in 1904. Lotus silversmith, artist craftsman, art theo- blossoms, water lilies, leaves, and plant retician, and poet. Inspired by William stalks influenced Teco’s green matte- Morris (1834-1996), Ashbee founded glazed ware, a pottery trademark for Art Nouveau is French for “new subject, they favored attractive, often the Guild and School of Handicraft ten years. Afterwards brown, buff and art.” Centers of this new art arose in sensuous images of flowers, vines, in London in 1888. The guild was so shades of red were introduced. Pottery Paris, Vienna, Munich, London, and youth, and women. successful that several London firms, pieces were always molded or carved Milan, and in short order designers In seeking liberation from the including Liberty & Co., copied and in relief. from Central Europe to the American past, the practitioners of the new art sold its versions of his designs. Ashbee Midwest adopted and adapted the ideas zealously turned away from historical published books and essays on the of the new art. -
Alabaster. Quarrying and Trade in the Roman World: Evidence from Pompeii and Herculaneum
Alabaster. Quarrying and Trade in the Roman World: Evidence from Pompeii and Herculaneum Barker, Simon J.; Perna, Simona Source / Izvornik: ASMOSIA XI, Interdisciplinary Studies on Ancient Stone, Proceedings of the XI International Conference of ASMOSIA, 2018, 45 - 64 Conference paper / Rad u zborniku Publication status / Verzija rada: Published version / Objavljena verzija rada (izdavačev PDF) https://doi.org/10.31534/XI.asmosia.2015/01.03 Permanent link / Trajna poveznica: https://urn.nsk.hr/urn:nbn:hr:123:848139 Rights / Prava: In copyright Download date / Datum preuzimanja: 2021-10-11 Repository / Repozitorij: FCEAG Repository - Repository of the Faculty of Civil Engineering, Architecture and Geodesy, University of Split ASMOSIA PROCEEDINGS: ASMOSIA I, N. HERZ, M. WAELKENS (eds.): Classical Marble: Geochemistry, Technology, Trade, Dordrecht/Boston/London,1988. e n ASMOSIA II, M. WAELKENS, N. HERZ, L. MOENS (eds.): o t Ancient Stones: Quarrying, Trade and Provenance – S Interdisciplinary Studies on Stones and Stone Technology in t Europe and Near East from the Prehistoric to the Early n Christian Period, Leuven 1992. e i ASMOSIA III, Y. MANIATIS, N. HERZ, Y. BASIAKOS (eds.): c The Study of Marble and Other Stones Used in Antiquity, n London 1995. A ASMOSIA IV, M. SCHVOERER (ed.): Archéomatéiaux – n Marbres et Autres Roches. Actes de la IVème Conférence o Internationale de l’Association pour l’Étude des Marbres et s Autres Roches Utilisés dans le Passé, Bordeaux-Talence 1999. e i d ASMOSIA V, J. HERRMANN, N. HERZ, R. NEWMAN (eds.): u ASMOSIA 5, Interdisciplinary Studies on Ancient Stone – t Proceedings of the Fifth International Conference of the S Association for the Study of Marble and Other Stones in y Antiquity, Museum of Fine Arts, Boston, June 1998, London r 2002. -
Ceremic Arts
CEREMIC ARTS 1. INTRODUCTION: Ceramic art is art made from ceramic materials, including clay. It may take forms including art ware, tile, figurines, sculpture, and tableware. Ceramic art is one of the arts, particularly the visual arts. Of these, it is one of the plastic arts. While some ceramics are considered fine art, some are considered to be decorative, industrial or applied art objects. Ceramics may also be considered artifacts in archaeology. Ceramic art can be made by one person or by a group of people. In a pottery or ceramic factory, a group of people design, manufacture and decorate the art ware. Products from a pottery are sometimes referred to as "art pottery". [1] In a one-person pottery studio, ceramists or potters produce studio pottery. Most traditional ceramic products were made from clay (or clay mixed with other materials), shaped and subjected to heat, and tableware and decorative ceramics are generally still made this way. In modern ceramic engineering usage, ceramics is the art and science of making objects from inorganic, non-metallic materials by the action of heat. It excludes glass and mosaic made from glass tesserae. There is a long history of ceramic art in almost all developed cultures, and often ceramic objects are all the artistic evidence left from vanished cultures. Elements of ceramic art, upon which different degrees of emphasis have been placed at different times, are the shape of the object, its decoration by painting, carving and other methods, and the glazing found on most ceramics. 2. PRODUCT & ITS APPLICATION: Ceramic arts have very ancient history and developed all over the world. -
Ceramics: the History, Materials, and Manipulative Techniques of the Craft
Eastern Illinois University The Keep Plan B Papers Student Theses & Publications 1-1-1965 Ceramics: The History, Materials, and Manipulative Techniques of the Craft James W. Mizener Follow this and additional works at: https://thekeep.eiu.edu/plan_b Recommended Citation Mizener, James W., "Ceramics: The History, Materials, and Manipulative Techniques of the Craft" (1965). Plan B Papers. 447. https://thekeep.eiu.edu/plan_b/447 This Dissertation/Thesis is brought to you for free and open access by the Student Theses & Publications at The Keep. It has been accepted for inclusion in Plan B Papers by an authorized administrator of The Keep. For more information, please contact [email protected]. CERAMICS: THE HISTORY, MATERIALS, AND MANIPULATIVE TECHNIQUES OF THE CRAFT (TITLE) BY James W. Mizener PLAN B PAPER SUBMIITED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE MASTER OF SCIENCE IN EDUCATION AND PREPARED IN COURSE Industrial Arts 452, Recreational Crafts IN THE GRADUATE SCHOOL, EASTERN ILLINOIS UNIVERSITY, CHARLESTON, ILLINOIS 1965 YEAR I HEREBY RECOMMEND THIS PLAN B PAPER BE ACCEPTED AS FULFILLING THIS PART OF THE DEGREE, M.S. IN ED. TABLE OF CONTENTS CHAPTER PAGE INTRODUCTION . 1 I. HISTORY AND DEVELOPMENT • 3 Ancient People 3 Chinese Contributions . 8 Contemporary Application 10 Industry •••••• 10 Therapy •• 10 School 11 Recreation 11 II. CERAMIC CONSTRUCTION 13 Clay . 13 Classification of Clay 16 Earthenware • 16 Stoneware • 16 Porcelain •• 17 Tools and Equipment . 17 Methods and Techniques of Ceramic Construction 20 Wedging Clay • • • • • ••• 20 Hand-Built Modeling ••••••••••• 21 Free Form Modeling • • • • 21 Slab Building ••••••••• 23 Coil Building •••••••• 24 Casting Pottery From Molds •••• 25 Single and Multi-Piece Molds •• 26 Preparing the Slip • • • • • • • • • • 28 Casting . -
Artist Jewellery Is Enjoying a Renaissance. Aimee Farrell Looks At
Artist jewellery Right: Catherine Deneuve wearing Man Ray’s Pendantif-Pendant earrings in a photo by the artist, 1968. Below: Georges Braque’s Circé, 1962 brooch Photo: Sotheby’s France/ArtDigital Studio © Man Ray Trust/ADAGP, Paris and DACS, London 2017; Braque jewellery courtesy Diane Venet; all other jewellery shown here © Louisa Guinness Gallery Frame the face Artist jewellery is enjoying a renaissance. Aimee Farrell looks at its most captivating – and collectible – creations, from May Ray’s mega earrings to Georges Braque’s brooches 16 Fashion has long been in thrall of artist jewellery. In the 1930s, couturier Elsa Schiaparelli commissioned her circle of artist friends including Jean Cocteau and Alberto Giacometti to create experimental jewels for her collections; art world fashion plate Peggy Guggenheim boasted of being the only woman to Clockwise from left: wear the “enormous mobile earrings” conceived Man Ray’s La Jolie, 1970 pendant with lapis; The by kinetic artist Alexander Calder; and Yves Saint Oculist, 1971 brooch Laurent, a generous patron of the French husband- in gold and malachite; and his photograph of and-wife artist duo “Les Lalannes” summoned Claude Nancy Cunard, 1926 © Man Ray Trust/ADAGP, Lalanne to conjure a series of bronze breast plates, Paris and DACS, London akin to armour, for his dramatic autumn/winter 2017; Telimage, 2017 1969 show. So when Maria Grazia Chiuri enlisted Lalanne, now in her nineties, to devise the sculptural copper Man Ray jewels for her botanical-themed Christian Dior A brooch portraying Lee Miller’s lips, rings complete with tiny Couture debut this year, she put artist jewellery firmly tunnels that offer an alternative perspective on the world and 24 carat gold sunglasses – it’s no surprise that the avant-garde back on the agenda. -
Early Sumerian Cities
Y 28 NEAR EASTERN, EGYPTIAN, AND AEGEAN CITIES enjoyed more starus, privileges, and possesions than orhers. Evenrually hierarchy would prevail- CHAPTER 2 Managemenr of food sources seems ro have been responsible for rhis, with excess production, which en be stored and sold or traded, providing accumulared wealch and power for some. Religion may have offered an ideological justification For such inequaliry. These periods were Early Sumerian cities marked in addi¡ion by innovations in technology (wheelmade pottery, sheer meral), rrans- ponarion (boats wirh sails), and agriculture (tree crops). Trade neworks conrinued, as rhe broad distribution of Hdaf and Ubaid pottery indicates, from Medirerrmean Turkey to Inn. Litrle by linle rhe rechnologiel, commerciel, and social wo¡ld of rhe Ancienr Near Easr wæ preparing irself for rhe rise of full-fledged ciries. The Sumerians (firsr period of dominarion): Ubaid period: a. 5000-3500 Bc Proroliterare (Uruk) period: ca.3500-2900 ¡c Early Dynasric period: ca. 2900-2350r;c The Êrs¡ ciries in the Near Easr-Mediletranean basin appeared in souchern Mesoponmia, or Sumer, rhe crearion of a people we call rhe Sumerians (Figure 2.1). \Ve have seen that environrnental changes in south-west fuia during rhe previous 5,000 years led to human control over food production; with this masrery came major social changes, including Êxed setdemen¡s. The socio-economic developmenr of these towns and villages is marked by the gradual appearance ofthe ten criteria proposed by Childe as a mark of rhe rrue ciry. AII ten factors finally emerge in Sumer during the later fourth millennium Bc. This chapter will explore early Sumerian ciries.