An Investigation Into Louis Comfort Tiffany's and Tiffany Studios' Architectural Metalwork
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Lighting and Byzantine Glass Tesserae
EVA London Conference ~ 11–13 July 2007 Eva Zányi, Carla Schroer, Mark Mudge, and Alan Chalmers _____________________________________________________________________ LIGHTING AND BYZANTINE GLASS TESSERAE Eva Zányi†, Carla Schroer‡, Mark Mudge‡, Alan Chalmers† † Warwick Digital Laboratory University of Warwick Coventry CV4 7AL United Kingdom [email protected], [email protected] http://www.warwickdigital.org ‡ Cultural Heritage Imaging San Francisco USA [email protected], [email protected] http://www.c-h-i.org Abstract – A key component of many Byzantine churches was the mosaics on the curved walls and ceilings, which included gold and silver glass tesserae. As the viewer or the light moved within the church, these tesserae sparkled. In this paper we describe how we captured a Polynomial Texture Map of the apse mosaic at the Angeloktisti Church at Kiti, Cyprus and used it to investigate how the position of the lighting may have affected the appearance of the mosaic. Our study showed that the appearance of the mosaics is indeed significantly different when lit from various directions. INTRODUCTION From the outside Byzantine churches look unimposing; without much decoration, no paint or precious materials. This is very different to the interior, which provided those inside the space with dramatic visual affects aiming at alleviating and engaging the viewer to approach God [14]. The architecture used light and shadow to symbolically represent different sacral hierarchies and direct the attention of the viewer. Therefore the upper parts of the churches, which represented heaven, were better lit than the lower parts. In early Byzantium this was achieved with the help of daylight through small xxxx Figure 1. -
Read Where Architecture Expert Paul Goldberg Comments on the History of New York's Famous Skyscrapers. As You Do So, Complete
Can you identify any of these buildings? What do they all have in common? Which one do you like best? Read where architecture expert Paul Goldberg comments on the history of New York’s famous skyscrapers. As you do so, complete the following tasks: · In New York buildings are not only buildings, they become ___________________ · New York took over Chicago as regards skyscrapers in ___________________. · The Woolworth building was the tallest building worldwide for _________________. · The _______________ defined the Manhattan skyline. · They are trying to keep a memory of the people who were lost and also to show New York’s ______________________________. · New York stands out from the other cities as the embodiment of ____________________. Woolworth Building; Empire State Building; Chrysler Building; Flatiron; Hearst Tower The Woolworth Building, at 57 stories (floors), is one of the oldest—and one of the most famous—skyscrapers in New York City. It was the world’s tallest building for 17 years. More than 95 years after its construction, it is still one of the fifty tallest buildings in the United States as well as one of the twenty tallest buildings in New York City. The building is a National Historic Landmark, having been listed in 1966. The Empire State Building is a 102-story landmark Art Deco skyscraper in New York City at the intersection of Fifth Avenue and West 34th Street. Like many New York building, it has become seen as a work of art. Its name is derived from the nickname for New York, The Empire State. It stood as the world's tallest building for more than 40 years, from its completion in 1931 until construction of the World Trade Center's North Tower was completed in 1972. -
Family Law Section Chair Mitchell Y
NEW YORK STATE BAR ASSOCIATION Family Law Section Chair Mitchell Y. Cohen, Esq. Johnson & Cohen LLP White Plains Program Co-Chairs Rosalia Baiamonte, Esq. Gassman Baiamonte Gruner, P.C. Garden City NYSBA Dylan S. Mitchell, Esq. Blank Rome LLP New York City Family Law Section Peter R. Stambleck, Esq. Aronson Mayefsky & Sloan, LLP Summer Meeting New York City Family Law Section The Newport Marriott Hotel CLE Committee Co-Chairs Rosalia Baiamonte, Esq. 25 Americas Cup Ave. Gassman Baiamonte Gruner, PC Garden City Newport, RI Henry S. Berman, Esq. Berman Frucco Gouz Mitchel & Schub PC July 13–16, 2017 White Plains Charles P. Inclima, Esq. Inclima Law Firm, PLLC Rochester Peter R. Stambleck, Esq. Aronson Mayefsky & Sloan, LLP New York City Under New York’s MCLE rule, this program may qualify for UP Bruce J. Wagner, Esq. TO 6.5 MCLE credits hours in Areas of Professional Practice. This McNamee, Lochner, Titus & program is not transitional and is not suitable for MCLE credit for Williams, P.C. newly-admitted attorneys. Albany SCHEDULE OF EVENTS Thursday, July 13 9:00 a.m. – 10:30 a.m. Officers Meeting 12:00 p.m. Registration and Exhibits — South Foyer 2:00 p.m. – 4:30 p.m. Executive Committee Meeting — Salons II, III, IV 6:00 p.m. – 10:00 p.m. Kid’s Dinner & Activities — Portsmouth Room 6:15 p.m. Shuttle will leave for the reception/dinner at the Newport Yachting Center (Bohlin); The shuttle will run a continuous loop 6:30 p.m. – 9:30 p.m. Reception and lobster bake at the Newport Yachting Center (Bohlin) Friday, July 14 7:30 a.m. -
GORHAM BUILDING, 390 Fifth Avenue, Aka 386-390 Fifth Avenue and 2-6 West 36Th Street, Manhattan
Landmarks Preservation Commission December 15, 1998, Designation List 300 LP-2027 GORHAM BUILDING, 390 Fifth Avenue, aka 386-390 Fifth Avenue and 2-6 West 36th Street, Manhattan. Built 1904-1906; architect Stanford White of McKim, Mead and White. Landmark Site: Borough of Manhattan Tax Map Block 837, Lot 48. On September 15, 1998, the Landmarks Preservation Commission held a public hearing on the proposed designation as a Landmark of the Gorham Building and the proposed designation of the related Landmark Site (Item No. 2). The hearing had been duly advertised in accordance with the provisions of law. Seven witnesses representing Manhattan Community Board 5, the Murray Hill Association, the New York Landmarks Conservancy, the Beaux Arts Alliance, the Society for the Architecture of the City, the Municipal Art Society, and the Historic Districts Council spoke in favor of designation. The owner of the building submitted a letter asking that the hearing be adjourned to another date. The hearing was closed with the proviso that it could be reopened at a later date if the owner wished to testify. The owner subsequently declined to do so. There were no speakers in opposition to this designation. The Commission also has received a letter in support of the designation from a local resident. Summary This elegant commercial building, constructed in 1904-05 for the Gorham Manufacturing Company, contained its wholesale and retail showrooms, offices, and workshops. Designed by Stanford White of the prominent architectural firm of McKim, Mead & White, the eight-story building is an adaptation of an early Florentine Renaissance sty le palazzo incorporating a two-story arcade, a four-story mid-section, and a two-story loggia. -
In 1893, the Tiffany Chapel Was Created for the Chicago World's Fair (World's Columbian Exposition). Louis Comf
In 1893, the Tiffany Chapel was created for the Chicago world's fair (World's Columbian Exposition). Louis Comfort Tiffany's exhibit at the fair was developed by the Tiffany Glass and Decorating Company. The exhibit was installed at the Tiffany & Co. pavilion in the Manufacturers and Liberal Arts Building. Today, the chapel can be seen at the Charles Hosmer Morse Museum of American Art in Winter Park, Florida. The chapel in its form and design is one of the most beautiful that my wife and I have seen. The room, except for two of the four benches is in its original state as at the exhibit in Chicago. From its "decorative moldings, altar floor, carved plaster arches, marble and glass‐mosaic furnishings, four leaded glass windows, sixteen glass‐mosaic encrusted columns (1,000 pounds each) and a ten‐foot by eight‐foot electrified chandelier. The nonhistorical parts of the chapel include walls, nave floor, and ceilings." <Morse Museum> <morsemusem.org> The museum staff commented to us that many people who enter the chapel are so moved by the room's beauty that many sit on the benches and pray. After the Chicago fair, he moved the chapel to his Tiffany studios. It then was purchased by a wealthy woman and installed in 1898 in the crypt of New York's Cathedral Church of Saint John Divine. <Morse Museum> <morsemusem.org> It was used for about ten years but fell into disrepair, due to water damage. Tiffany became concerned and acquired the chapel in 1916. He moved and reinstalled the chapel at his Long Island estate called Laurelton Hall. -
With Dada and Pop Art Influence
With Dada and Pop Art Influence The non-art movement • 1916-1923 • Reaction to the horror of World War I • Artists were mostly French and German. They took refuge in neutral Switzerland. • They were angry at the European society that had allowed the war to happen. • Dada was a form of protest. • It’s intention was to provoke and shock The name “Dada” was chosen because it was nonsensical. They wanted a name that made the least amount of sense. • They used any public forum to spit on: nationalism rationalism materialism and society in general Mona Lisa with a Mustache “The Fountain” “The Bride Stripped Bare by her Bachelors, Even” George Groz “Remember Uncle Augustus the Unhappy Inventor”(collage) Raoul Hausmann “ABCD” (collage) Merit Oppenheim “Luncheon in Fur” Using pre-existing objects or images with little or no transformation applied to them Artist use borrowed elements in their creation of a new work • Dada self-destructed when it was in danger of becoming “acceptable.” • The Dada movement and the Surrealists have influenced many important artists. Joseph Cornell (1903-1972) became one of the most famous artists to use assemblage. His work is both surreal and poetic. A 3-D form of using "found" objects arranged in such a way that they create a piece of art. The Pop American artist, Robert Rauschenberg, uses assemblage, painting, printmaking and collage in his work. He is directly influenced by the Dada-ists. “Canyon” “Monogram” “Bed” “Coca-cola Plan” “Retroactive” • These artist use borrowed elements in their creation to make a new work of art! • As long as those portions of copyrighted works are used to create a completely new and different work of art it was OK. -
Louis Comfort Tiffany: a Bibliography, Relevant to the Man, His Work, and His Oyster Bay, Long Island, Home.”
Please cite as: Spinzia, Judith Ader, “Louis Comfort Tiffany: A Bibliography, Relevant to the Man, His Work, and His Oyster Bay, Long Island, Home.” www.spinzialongislandestates.com Louis Comfort Tiffany: A Bibliography Relevant to the Man, His Work, and His Oyster Bay, Long Island, Home compiled by Judith Ader Spinzia . The Charles Hosmer Morse Museum, Winter Park, FL, has photographs of Laurelton Hall. Harvard Law School, Manuscripts Division, Harvard University, Cambridge, MA, has Charles Culp Burlingham papers. Sterling Library, Yale University, New Haven, CT, has papers and correspondence filed under the Mitchell–- Tiffany papers. Savage, M. Frederick. Laurelton Hall Inventory, 1919. Entire inventory can be found in the Long Island Studies Institute, Hofstra University, Hempstead, LI. The Schlesinger Library, Radcliffe College, Cambridge, MA, has Edith Banfield Jackson papers. Tiffany & Company archives are in Parsippany, NJ. “American Country House of Louis Comfort Tiffany.” International Studio 33 (February 1908):294-96. “Artists Heaven; Long Island Estate of Louis Tiffany To Be an Artists' Home.” Review 1 (November 1, 1919):533. Baal-Teshuva, Jacob. Louis Comfort Tiffany. New York: Taschen Publishing Co., 2001. Bedford, Stephen and Richard Guy Wilson. The Long Island Country House, 1870-1930. Southampton, NY: The Parrish Art Museum, 1988. Bing, Siegfried. Artistic America, Tiffany Glass, and Art Nouveau. Cambridge, MA: MIT Press, [1895-1903] 1970. [reprint, edited by Robert Koch] Bingham, Alfred Mitchell. The Tiffany Fortune and Other Chronicles of a Connecticut Family. Chestnut Hill, MA: Abeel and Leet Publishers, 1996. Brownell, William C. “The Younger Painters of America.” Scribner's Monthly July 1881:321-24. Burke, Doreen Bolger. -
National Register of Historic Places
NFSForm 10-900 (7-81) United States Department of the Interior National Park Service National Register of Historic Places Inventory Nomination Form See instructions in How to Complete National Register Forms Type all entries complete applicable sections 1. Name historic Tourtellotte and Hummel Architecture>in 2. Location N_/A- not for publication city, town N/A N/A_ vicinity of state code ' county N/A code 3. Classification Category Ownership Status Present Use district public X occupied agriculture museum building(s) private X unoccupied X commercial park . structure x both work in progress X educational _ X_ private residence site Public Acquisition Accessible X entertainment x religious object N/A jn process yes: restricted X government scientific X Thematic N^A_ being considered X yes: unrestricted industrial transportation Group no military other: 4. Owner of Property name Multiple owners (see individual inventory sheets) city, town N/A N/A vicinity of 5. Location of Legal Description courthouse, registry of deeds, etc. Multiple (see individual inventory sheets) N/A N/A state Idaho 6. Representation in Existing Surveys title Idaho State Historic Sites Survey has this property been determined eligible? __yes _X_ no 1972 date . federal X state county local depository for survey records Idaho State Historical Society city, town Boise state Idaho 7. Description Condition N/A Check one N/A check one N/A excellent deteriorated unaltered original site good ruins altered moved date N/A fair unexposed See Individual Inventory forms. Describe the present and original (iff known) physical appearance The unifying theme of this nomination is the design of all structures included in it by members of the Boise-based architectural firm of John E. -
National Register of Historic Places Inventory—Nomination Form 1
NFS Form 10-900 (3-82) OMB No. 1024-0018 Expires 10-31-87 United States Department of the Interior National Park Service For NFS use only National Register of Historic Places received MAY 6 19ST Inventory—Nomination Form date entered JUN | 5 [937 See instructions in How to Complete National Register Forms Type all entries—complete applicable sections_______________ 1. Name historic N/A Number of contributing features: 20 Portland Thirteenth Avenue and or common Historic District Number of non-contributing features: 0 2. Location A six-block-long corridor of warehouse properties fronting on NW 13th street & number Avenue, between NW Davis Street on the south and Jl/Anot for publication NW Johnson Street on the north city, town Portland ___ J/Avicinity of Third Congressional District state Oregon code 41 county Multnomah code 051 3. Classification Category Ownership Status Present Use JC_ district public _X _ occupied agriculture museum building(s) _ X_ private unoccupied _X — commercial park structure both work in progress educational private residence site Public Acquisition Accessible entertainment religious object N/A in process yes: restricted _ government scientific X industrial N/A being considered -X _ "noyes: unrestricted transportation military name Multiple (see Continuation Sheets) street & number N/A city, town N/A vicinity of state 5. Location off Legal Description courthouse, registry of deeds, etc. Multnomah County Courthouse street & number 1021 SW 4th Avenue city, town Portland state Oregon 97204 6. Representation in Existing Surveys Portland Historic title Rpsnurr.p Inventory has this property been determined eligible? yes X no date federal state county _X_ local depository for survey records Portland Bureau nf P1anning 3 11?n SU 5th Avenue city, town Portland state Oregon Q7?n4 7. -
Sculpture I – Assemblage
Name Sculpture I – Assemblage Artist: Joseph Cornell was a collector and carefully juxtaposing found objects in small, glass-front boxes, Cornell created visual poems in which surface, form, texture, and light play together. Using things we can see, Cornell made boxes about things we cannot see: ideas, memories, fantasies, and dreams. http://www.josephcornellbox.com/gallery_menu01.htm Learning Targets: Sculpture I understand how color can change a sculpture. I know there are many types of sculptures. I know that there is a wide variety of materials used in sculpture. I know how to implement the elements and principles of design into my Sculpture I know how create an sculpture with assemblage of recyclables I can create 3•D sculpture from cardboard, using paper construction methods such as scoring, mitering edges. I know how to work with paper construction techniques and Mache; learn about grain, bending, cutting, scoring, and quality of different types of paper. I know and understand the work of artist Joseph Cornell . Standards A: Skills and Techniques: The student understands and applies media, techniques and processes B: Creation and Communication: the student creates and communicates a range of subject matter, symbols and ideas using knowledge of structures and functions of visual arts. C: Cultural and Historical Connections: The student understands the visual arts in relation to history and culture. D: Aesthetic and Critical Analysis: The student assesses, evaluates and responds to the characteristics of works of art. E: Applications to Life: the student makes connections between the visual arts, other disciplines and the real world. Assessment: Design Considerations: o Outside Design, Color, Pattern, etc. -
CITYLAND NEW FILINGS & DECISIONS | July 2020
CITYLAND NEW FILINGS & DECISIONS | July 2020 Due to the COVID-19 pandemic, the Uniform Land Use Review Procedure was suspended and there were no scheduled City Planning Commission public hearings in July 2020. City Planning re-convened for the first time on August 3, 2020 at a virtual review session. CITY PLANNING PIPELINE New Applications Filed with DCP — July 1 to July 31, 2020 APPLICANT PROJECT/ADDRESS DESCRIPTION ULURP NO. REPRESENTATIVE ZONING TEXT AND MAP AMENDMENTS McDonald’s 606 Neptune Avenue A zoning map amendment from an R6/C1-2 zoning district and the M 210034 LDK; Langan Corporation Special Ocean Parkway District (OP) to R6/C2-4/OP and a modification 210033 ZMK to the Legal Document (Restrictive Declaration) to facilitate 4,249 sf of commercial development, including the legalization of an existing accessory drive through facility, is being sought by McDonald’s Corporation a private applicant at 606 Neptune Avenue in Coney Island, Community District 13, Brooklyn. Almonte Lincoln Sutter Avenue Rezoning This is a private application by Almonte Lincoln LLC requesting a zoning 210031 ZMK; Lisa Orrantia LLC map amendment to change from R5 to R6A/C2-4 and a zoning text 210032 ZRK amendment to designate the rezoned area as a MIH, to facilitate the development of a 5-story building with ground floor commercial and 28 residential units, located at 1377-1385 Sutter Avenue in CD 5, East New York, Brooklyn. Damien Smith Broadway and 11th A Zoning Map Amendment (from R5 to M1-4/R7A) and zoning text 210025 ZMQ; Frank St. Jacques Street Rezoning amendments (to ZR 123-90 and Appendix F) to facilitate a new eight- 210026 ZRQ story, mixed use development, including approximately 217 residential units and 30,000 square feet for commercial and manufacturing uses, is being sought by 11 St & Broadway LLC at 11-01 33rd Avenue in Astoria, Community District 1, Queens. -
The Quilt As Concept
University of Louisville ThinkIR: The University of Louisville's Institutional Repository Electronic Theses and Dissertations 5-2009 The quilt as concept. Denise Mucci Furnish University of Louisville Follow this and additional works at: https://ir.library.louisville.edu/etd Recommended Citation Furnish, Denise Mucci, "The quilt as concept." (2009). Electronic Theses and Dissertations. Paper 472. https://doi.org/10.18297/etd/472 This Master's Thesis is brought to you for free and open access by ThinkIR: The University of Louisville's Institutional Repository. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of ThinkIR: The University of Louisville's Institutional Repository. This title appears here courtesy of the author, who has retained all other copyrights. For more information, please contact [email protected]. THE QUILT AS CONCEPT By Denise Mucci Furnish B.A. University of Kentucky, 1972 B.F.A. University of Louisville, 2008 A Thesis Submitted to the Faculty of the Graduate School of the University of Louisville in Partial Fulfillment of the Requirements for the Degree of Master of Arts Department of Fine Arts University of Louisville Louisville, Kentucky May 2009 Copyright 2009 by Denise Mucci Furnish All rights reserved TIlE QUILT AS CONCEPT By Denise Mucci Furnish B.A. University of Kentucky, 1972 B.F.A. University of Louisville, 2008 A Thesis Approved on March 9, 2009 By the following Thesis Committee: Thesis Director ii DEDICATION This thesis is dedicated to Guy M. Furnish whose dedication to education has made this possible. iii ACKNOWLEDGEMENTS I would like to thank my major professor, Lida Gordon, for years of inspiration, guidance, and patience.