Particle Theories: International PГўte de Verre and Other Cast Granulations, Susanne K. Frantz, Museum of American Glass, Museum of American Glass at Wheaton Village, 2005, 0974210749, 9780974210742, . .

DOWNLOAD HERE

Lucent A Survey of Contemporary Canadian Glass, Glass Art Association of Canada, 2007, Glass art, 34 pages. .

Rapture Arngunnur Yr, Timothy Horn, Mills College. Art Museum, 2006, Art, 34 pages. .

Friendship Blocks New Settings for Sentimental Favorites, Marge Edie, Dec 1, 2001, , 80 pages. .

Circus Of Spheres/ Cirque De Spheres , Monica Guggisberg, Philip Baldwin, 2004, Antiques & Collectibles, 88 pages. This book accompanies a major exhibition in the Carte Blanche series at the MusГ©e de Design et d'arts AppliquГ©s Contemporains, Lausenne, Switzerland, devoted to the ....

Glass , Reino Liefkes, Victoria and Albert Museum, Jan 1, 1997, Antiques & Collectibles, 160 pages. Starting with the dawn of vessel glassmaking in the 2nd millenium BC and ending with the work of contemporary artists, Glass covers history, social uses, design, and techniques ....

Nick Mount Incandescence, Margot Osborne, Apr 1, 2004, Antiques & Collectibles, 88 pages. Nick Mount is an iconic figure in the hothouse of contemporary glass. He has been in the vanguard of the studio glass movement in Australia since the 1970s, both as a brilliant ....

Glass , Andrew Langley, Sep 1, 2008, Juvenile Nonfiction, 24 pages. Introduces glass, discussing how it is created, things that are made from it, special uses, and the importance of recycling..

Contemporary glass a world survey from the Corning Museum of Glass, Susanne K. Frantz, 1989, Antiques & Collectibles, 264 pages. .

The Essential , William Warmus, Sep 1, 2001, , 112 pages. New offerings in Abrams' popular series offering hip, entertaining books on artists & pop culture..

Stanislav LibenskГЅ, Jaroslava BrychtovГЎ a 40-year collaboration in glass, Stanislav LibenskГЅ, Jaroslava BrychtovГЎ, Susanne K. Frantz, Thomas S. Buechner, UmД›leckoprЕЇmyslovГ© muzeum v Praze, 1994, Art, 223 pages. The first comprehensive documentation of the Czech couple's revolutionary creations in glass..

Chihuly's Pendletons, [32 full-color postcards]. , Dale Chihuly, Pendleton Woolen Mills, Inc, 2001, Crafts & Hobbies, . . Lino Tagliapietra "La ballata del vetro soffiato" : an exhibition marking the Italian maestro's achievement in the world of studio glass, Lino Tagliapietra, Daniel Kany, William Traver Gallery, Apr 1, 2002, Antiques & Collectibles, 79 pages. .

Fire and form the art of contemporary glass, William Warmus, Norton Museum of Art, 2003, Antiques & Collectibles, 128 pages. .

Matei Negreanu lignes de silence, MusГ©e du verre (Sars-Poteries, France), 2000, Art, 19 pages. .

Nick Mount The Fabric of Work, Tony Hanning, Mar 1, 2013, Glass art, 128 pages. Written in the style of an extraordinary yarn, this book is not so much about Mount's achievements as a glass artist as about the elements that have shaped his career and ....

Australian Glass Today , Margot Osborne, Oct 3, 2006, Art, 154 pages. This survey of contemporary glass artists in Australia showcases the latest trends in art glass by displaying the work of 45 established and emerging artists. This beautifully ....

Isabel de ObaldГ•a New Work, 2004 : [exhibition] October 27-November 20, 2004, Isabel de ObaldГ•a, Jan 1, 2004, Art, 16 pages. .

But the ''Particle Theories'' exhibition examines the process of cast, not blown glass, offering stunning treats. Organized by Susanne K. Frantz, former curator of 20th-century glass at the Corning Museum of Glass, the exhibition presents 19 turn-of-the-20th-century French pieces and 119 objects by 56 contemporary artists.

Because p? de verre (paste of glass) has been used to describe a variety of molded glass, it explains the show's inclusive but rather off-putting title. In the accompanying catalog, Ms. Frantz acknowledges that ''there has never been a single, absolute definition of p? de verre.'' She defines it as ''premelted glass reduced to a granular consistency, placed in a refractory mold, fired in a kiln until fused or melted, cooled and annealed, and then freed from the mold.''

Although p? de verre probably dates to ancient times, Henry Cros, a French sculptor, revived the technique and adopted the term in 1883. His ''Mask (La Flamme),'' which dates to 1900 and is one of the oldest works in the exhibition, has an unpolished, textured surface that is delicately colored to suggest polychrome sculptures of antiquity.

In 1968, Fr?s, a company known for its early 20th-century art glass, reintroduced p? de verre production using designs commissioned from contemporary artists. On several occasions, Dan Dailey teamed up with the French company to create impressive pieces, like ''Le Vent,'' a translucent reclining female nude reminiscent of a streamlined Art Deco form.

During the Studio Glass Movement of the 1970's, an interest in p? de verre was rekindled, because it required inexpensive equipment and less space than a hot glass studio. ''Raspberry Vase,'' by Kimiake Higuchi, is one of the more functional objects on display. An exquisitely colored contemporary vessel, it has a base in deep blue that fades into warm orange at the lip. Detailed leaves, a spider web and berries (cast from life) provide a relief surface of bountiful decoration inspired by glass.

The beautiful thin-walled bowls by Momoo Omuro are more diminutive and demonstrate the artist's virtuosity and patience. Created in 2004, they have geometric surface designs that recall not only 1950's modernism but also objects by Diana Hobson, one of the seminal figures in the international revival of p? de verre. By contrast, Nicolas Africano's ''Untitled (Girl Sitting on a Globe),'' one of the newest works, is a pure figurative sculpture. Though the dark opaque coloring underscores its emotive content, the figure looks more like a soapstone carving than cast glass. Many artists have used the granulated effect of this glassmaking process to maximum advantage. For example, Deborah Horrell's ''Still Life -- Lineage of White'' is an arrangement of 12 forms combining p? de verre and carved alabaster, yet the coloration and crystalline texture offer a nearly seamless unity of glass and stone.

Sylvie Vandenhoucke's ''Raw Target'' is one of five large installations in the gallery of the museum lobby. The sculpture is composed of numerous irregularly shaped parts set in concentric circles. Her brown glass pieces and their white grainy exteriors suggest rich chocolate dusted with powdered sugar, a possible autobiographic reference by an artist from Belgium. P? de verre can make for delicious eye candy.

Photos: ''Bowl'' (2004), left, by Momoo Omuro; ''Still Life -- Lineage of White'' (2002), far left, by Deborah Horrell; ''Mask (La Flamme)'' (1900), top left, by Henry Cros; ''Raw Target'' (2004), center, by Sylvie Vandenhoucke; and ''Raspberry Vase'' (2001), above, by Kimiake Higuchi are all in ''Particle Theories.''

The Museum of American Glass at Wheaton Village presents, “Particle Theories: International Pâte de Verre and Other Cast Glass Granulations,― April 2 to December 31, a major exhibition featuring historic and contemporary art glass created through a technique that is called “pâte de verre― (“paste of glass―). Over 140 pieces will be on display.

Most glass-related exhibitions are so broad that they become mere displays. But “Particle Theories― takes an important step in advancing the critical study of contemporary glass art by focusing on one very specific technique, pâte de verre that has a rich history and has exerted an enormous influence on contemporary glass art throughout the world.

Guest Curator, Susanne Frantz, former curator of 20th Century Glass at the Corning Museum of Glass, has selected a group of international artists who exploit the pâte de verre technique in traditional ways, as well as through a number of exciting variations. To establish the historic background, a choice group of objects created at the turn of the 20th century will be on display. Pieces that highlight the diversity and brilliance of these early achievements will include a plaque by Henry Cros, a rare pendant by René Lalique, realistic figures by Georges Despret and Amalric Walter, and sculptural vessels by Gabriel Argy-Rousseau, Jules-Paul Brateau, Albert Dammouse, and Décorchemont.

There will be a fully illustrated catalog accompanying the exhibition. One of the world’s foremost authorities on the history of pâte de verre, Jean-Luc Olivié, Curator of Glass at the Musée des Arts Décoratifs, the Louvre, Paris, will write an introductory essay that offers previously unpublished research on the topic. Guest Curator, Susanne Frantz, will write about the artists in the exhibit and the modern developments in pâte de verre.

The origins of pâte de verre are unknown, but the term was invented at the end of the 19th century by the French sculptor, Henry Cros (1840-1907). In experiments at the Manufacture National de Sèvres, Cros and a handful of contemporaries “rediscovered― the technique that may date back to the Egyptian 18th dynasty. It was lost for centuries (with a brief interlude in 18th century England for the recreation of antique carved cameos) until the 1880s, when it was again studied and refined by the small circle of French artists and craftsmen. Cros had been working with tinted wax and marble, but he was looking for a material in which to create permanent polychrome sculpture. He sought a medium that could also recreate the subtle coloration and light transmitting qualities of living flesh at a time. Other French artists were fascinated by the ability of cast glass to imitate porcelain and semi-precious stones through modeling.

To make pâte de verre, glass is ground to a consistency ranging from a fine powder to a sugary grit. Different colors of glass and/or coloring agents, such as powdered enamels and metallic oxides, are mixed (usually, but not always) with a binder and turned into a slip or paste. This mixture is then brushed, tamped, poured, or packed into a preformed mold made of a refractory material able to withstand high temperatures. Sometimes the mold is filled solid; sometimes only a thin exterior wall is built up, layer by layer and color by color; in a third variation the ground glass is held in a reservoir that feeds directly into the mold.

After drying, the mold is fired in a kiln until the glass fuses together or, in the case of the reservoir, melts sufficiently to flow downward and fill all cavities in the hollow mold. Once the mold has cooled, it must be broken away and destroyed to free the glass. While multiple molds may be made from an original form, only one piece of glass can be fabricated from each mold. The freed glass might be left with the chalky or matte surface as it emerges from the mold, or finished using a variety of coldworking techniques such as grinding, cutting, and polishing. It may also be refired to further manipulate the form and coloration.

For all of its advantages, pâte de verre is extremely labor intensive. Multiple steps are required for mold making, the mixing of the , and their placement in the mold. One mistake at any point in the process can destroy weeks of effort. Fusion thresholds are narrow and the degree and duration of firing must be perfect. Too much heat can cause the glass to “boil over― and colors to run together and move out of place. With too little heat, the glass will not vitrify and falls apart.

Stylistically, the flowering of French pâte de verre lasted from Art Nouveau at the end of the 19th century, through 1930s Art Moderne. The technique even made an appearance in 1930s Japan at the Iwaki Glassworks thanks to artist Sotoichi Koshiba who learned it in France. Other than a few notable exceptions of the 1940s and 1950s, the technique was abandoned until the mid-1970s and the rise of International Studio Glass. At that time, Antoine and Etienne Leperlier in France (grandsons of Décorchemont), Diana Hobson in England, and Marianne Maderna in Austria, undertook independent trial-and-error experiments. Slightly later, American Karla Trinkley began her investigations. Trinkley’s sculptural vessels, surrounded by free-standing “cages― inspired by ancient Roman glass, perfectly exploited the aged, encrusted, and deteriorating appearance made possible by pâte de verre and introduced the method to American Studio Glass. By the 1980s, the revival had been widely adopted in Japan where it could be undertaken relatively inexpensively and in a small domestic space. Japanese artists have been key in exploring the potential of the technique.

The Museum of American Glass has the most comprehensive collection of American glass in the country. Over 6,500 objects are on display. Hours: Tuesday through Sunday, 10 a.m. to 5 p.m., April through December. Closed Thanksgiving Day, Christmas Day and New Year’s Day. Admission: Adults $10.00, $9.00 Senior Citizens and $7.00 Students. Children five and under are free. For more information, call 1-800-998-4552 or 856-825-6800, or visit www.wheatonvillage.org.

Funding has been made possible in part by the New Jersey State Council on the Arts/Department of State, a Partner Agency of the National Endowment for the Arts, and the Geraldine R. Dodge Foundation. Wheaton Village received a general operating support grant from the New Jersey Historical Commission, a division of Cultural Affairs in the Department of State.

Wheaton Arts and Cultural Center strives to ensure the accessibility of its exhibitions, events and programs to all persons with disabilities. Provide two weeks notice for special accommodations. Patrons with hearing and speech disabilities may contact WheatonArts through the New Jersey Relay Service (TRS) 800-852-7899 or by dialing 711. http://kgarch.org/dae.pdf http://kgarch.org/k2.pdf http://kgarch.org/2k1.pdf http://kgarch.org/fe7.pdf http://kgarch.org/kbk.pdf http://kgarch.org/18e.pdf http://kgarch.org/eaf.pdf http://kgarch.org/7me.pdf http://kgarch.org/el8.pdf http://kgarch.org/5ng.pdf http://kgarch.org/13fd.pdf http://kgarch.org/ni9.pdf http://kgarch.org/433.pdf