DOCSLIB.ORG

PCA CONVENTION 2013 Themed Paperweight for Sale with Part of the Proceeds Going to New Orleans Based Charity “Second Harvest

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
PCA CONVENTION 2013 Themed Paperweight for Sale with Part of the Proceeds Going to New Orleans Based Charity “Second Harvest President Vice President TOBY KRUGER JIM LEFEVER [email protected] [email protected] 5 Johnson Lane 810 Mt. Joy Road Voorhees, NJ 08043 Manheim, PA 17545 (856) 751-7720 (717) 665-4881 Secretary Treasurer, Newsletter Editor JILL BAUERSFELD DON FORMIGLI [email protected] [email protected] 9 Ramblewood Drive 455 Stonybrook Drive White Haven, PA 18661 Levittown, PA 19055 (570) 443-7023 (215) 945-1243 Volume 20 • Number 3 www.dvpaperweights.org June 2013 by David Graeber. Artists were asked to make a food PCA CONVENTION 2013 themed paperweight for sale with part of the proceeds going to New Orleans based charity “Second Harvest New Orleans, LA June 5 - 8 Food Bank”. These weights were for sale at the Dealers’ by Don Formigli Fair. Although smaller than recent conventions the 2013 Programs started on Thursday morning after a daily PCA, Inc convention in New Orleans was a big success. breakfast buffet which was served in the same Grand The attendance was 185 which included 19 DVPCA Gallery as the Artists’ Fair. Although many had gone on members. 28 states of the US were represented. a PCA booked bus and walking tour of New Orleans Fewer attended from outside the US than in the past before the start of the convention we all were treated to for varying reasons including the Ysart Weekend the a power point tour of New Orleans by Huey Pablovich, a following week in the UK and the economy in Europe. lifelong resident and guidebook author. Other speakers However there were seven other countries represented: during the various sessions were Alan Thornton, David Canada, UK, France, Germany, Mexico, Brazil and Graeber, Gay LeCleire Taylor, Alan Kaplan, Al Bates, Australia. 13 dealers had booths and 18 artists attended Wes Clark, Josh Simpson, Jan Smith and John Hawley showing their work at the Wednesday evening Artist spaced throughout the convention. David Graeber’s Fair. The programs were varied and spaced throughout topic was “New Horizons” and touched on losses the convention allowing ample time for exploring New from Katrina and Sandy. He showed pictures of Alison Orleans. Some attendees extended their visit before Ruzsa’s workshop after Sandy and then called her to or after the convention to allow even more time for the podium. It was then that Toby Kruger presented sightseeing. Alison with a DVPCA check for $1,000. Following that The highly anticipated Artists’ Fair was the opening Claire Ayotte presented Alison with a New England event and was conveniently situated in a lobby (Grand PCA check. Most of the other regional PCA groups had Gallery) adjacent to the ballroom location of the Dealers’ previously given money to help Alison replace her studio Fair which followed. A door from the lobby opened out and equipment. onto a balcony overlooking Bourbon Street where many On Friday evening everyone was bused to the enjoyed viewing the craziness in the street below. New Orleans Museum of Art where a sample of 24 Carving stations serving beef and turkey were set up paperweights from their small collection were put on at each end of the Artists’ Fair so no need to find a special exhibit for our visit. Our visit was scheduled to restaurant that night. The Dealers’ Fair was open for coincide with a public lecture, “Louis Comfort Tiffany at three hours afterward allowing everyone ample time the World’s Fairs”, which most of our group attended. to buy that first night. The Dealers’ Fair was open at Light refreshments were provided by PCA at the various times throughout the 4 day convention. museum. Of all the comments made about the visit the A special bonus of the convention was an exhibit of most frequently heard were about how “freezing cold” Russian paperweights, plaques and seals. These were the museum was. set up in a display case in the Dealers’ Fair room and This convention marked a change in leadership as attracted an admiring crowd throughout the convention PCA President Ben Drabeck stepped down after the when that room was open. The items were loaned by a maximum 3 terms allowed. Phil Edelman moved up PCA member and PCA dealers and were probably the to the position of President and Gordon Park from largest display of Russian weights ever shown in the Tennessee is the new Vice President. Some regional US. directors were changed. This convention marked the A special project called “Feed the World” was started 60th anniversary of PCA. PAGE 1 Feed the World Project Russian exhibit Ben Drabeck receiving Meeting Room gift as outgoing president Gary Geiger surveying Bourbon Street David Graeber & Alison Ruzsa Toby Kruger, Pat Ackerman, John Hawley and Jim A Russian plaque Lefever taking a break PAGE 2 Bill Pitt, Jim Lefever & Alan Thornton in ID Clinic Artists at New Orleans convention DVPCA attendees Astor Crowne Plaza Hotel.JPG Artist Panel - Colin Richardson, Melissa Ayotte, Alison Ruzsa & Damon MacNaught. Cathy Richardson moderator Dealers at New Orleans convention PAGE 3 GUEST ARTIST: (via live video) VICTOR TRABUCCO Reprinted from PCA Artist of the Month web site archives Guest Artist (via live video) VICTOR TRABUCCO With his sons David and Jon, Victor Trabucco combines technical know-how and creativity to bring life to their Guest Artist (via live video) VICTOR TRABUCCO paperweights and glass sculptures. Victor has been working with glass for over 35 years and has createdReprinted some from of PCA Artist of the Month web site archives Reprinted from PCA Artist of the Monththe most web siteinnovative archives paperweights being made today. His landmark accomplishments include the 5-inch Lizard weights with over 500 scales; his Nature In Ice series (a cut and polished form that resembles ice); Inclusions series (sculptural paperweights incorporating the encasement process); and the Seamless Paperweight which eliminates the division line that is seen from the side of lampworked paperweights. Victor has been technical advisor to Steuben Glass for three years, and up to 60% of Steuben production is finished using Victor’s techniques. Trabucco paperweights feature in the collections of HeadsWith his sonsof State, David and professional Jon, Victor Trabucco combines technical know-how and creativity to bring life to their paperweights and glass sculptures. Victor has been working with glass for over 35 years and has With his sons David and Jon, Victor Trabucco combines technical know-how and creativity to bringathletes, life to major corporations, and stars of stage and screen. They are displayed in The created some of the most innovative paperweights being made today. their paperweights and glass sculptures. Victor has been workingAmerican with glass Glass for overMuseum, 35 years The and Chicagohas Art Institute, The Bergstrom Art Center, The Royal Ontario Museum and The created some of the most innovative paperweights being made today. Corning Museum of Glass. The Trabucco Studio is located in Clarence, New York (a suburbHis landmark of Buffalo) accomplishments and collectors include the 5-inch Lizard weights with over 500 scales; his Nature In Ice His landmark accomplishments include the 5-inch Lizard weightsare welcome with over 500to visit scales; the his studio Nature byIn Iceappointment. Contact by email at [email protected] or (a phonecut and polished(716) 759-0833. form that resembles ice); Inclusions series (sculptural paperweights series (a cut and polished form that resembles ice); Inclusions series (sculptural paperweights incorporating the encasement process); and the Seamless Paperweight which eliminates the division line incorporating the encasement process); and the Seamless Paperweight which eliminates the division line that is seen from the side of lampworked paperweights. Victor has been technical advisor to Steuben that is seen from the side of lampworked paperweights. Victor has been technical advisor to Steuben Glass for three years, and up to 60% of Steuben production is finished using Victor's techniques. Glass for three years, and up to 60% of Steuben production is finished using Victor's techniques. MASS GLASS MUSINGS Trabucco paperweights feature in the collections of Heads of State, professional athletes, major Trabucco paperweights feature in the collections of Heads of State, professional athletes, major corporations, and stars of stage and screen. They are displayed in The American Glass Museum, The corporations, and stars of stage and screen. They are displayed in The American Glass Museum, The by: John D. Hawley Chicago Art Institute, The Bergstrom Art Center, The Royal Ontario Museum and The Corning Museum of Chicago Art Institute, The Bergstrom Art Center, The Royal Ontario Museum and The Corning Museum of Glass. The Trabucco Studio is located in Clarence, New York (a suburb of Buffalo) and collectors are Glass. The Trabucco Studio is located in Clarence, New YorkMany (a suburb different of Buffalo) designs and collectors of silhouette are canes were manufactured by nineteenth century glasswelcome houses to visit the both studio in byAmerica appointment. Contact by email at [email protected] or phone (716) 759-0833. welcome to visit the studio by appointment. Contact by emailand at [email protected]. Strangely enough, or phone the(716) heart cane was produced by only one factory, the New England Glass Company. 759-0833. Why the French, a people synonymous with love, did not have even one heart design placed in their marvelous paperweights is a mystery. The American glassworker, on the other hand, outdid himself as so far there are eight varieties extant. The most commonly found are the red and blue outline hearts (Figures 1 and 2). These are usually found in a complex cane, surrounding a star or cog, but single specimens are often found hiding deep within a scramble weight. The next six examples are rare. The hollow heart with green lining placed within a ten point cog (Figure 3) is simple but has a mysterious beauty of its own.
Load more

Recommended publications
  • FROM JAPONISME to ART NOUVEAU Matthew Martin Japanese Art Is Important As a Teacher
    FROM JAPONISME TO ART NOUVEAU Matthew Martin Japanese art is important as a teacher. From it, we once again learn to feel clearly how far we have strayed from nature's true designs through the persistent imitation of fixed models; we learn how necessary it is to draw from the source; how the human spirit is able to absorb a wealth of magnificent, naive beauty from the organic forms of nature in place of pedantic, decrepit rigidity of form. Julius Lessing, Report from the Paris Exposition Universelle, 1878 In the nineteenth century, an age where art from many different cultures was available for consumption, no other art had such a deep, transformational and permanent impact on the West as that of Japan. A five decade-long fascination began in exoticism, with widespread, literal copying of Japanese motifs and techniques, and ended in the absorption of Japanese aesthetic principles to the point that we no longer see anything overtly Japanese in European art and design of the turn of the twentieth century—the brief, brilliant moment of Art Nouveau, now widely recognised as the beginning of modern design. As the term `Japonisme' suggests, Japanese art had an enormous impact on the arts in France from the 1860s onwards.' The second half of the nineteenth century was a period of soul searching for intellectuals and artists across Europe. Many believed that the rise of industrial production in the nineteenth century had destroyed taste. Concomitant with this was the belief that quality of taste reflected the health — or lack thereof— of a society.
    [Show full text]
  • The Arts of Early Twentieth Century Dining Rooms: Arts and Crafts
    THE ARTS OF EARLY TWENTIETH CENTURY DINING ROOMS: ARTS AND CRAFTS, ART NOUVEAU, AND ART DECO by SUE-ANNA ELIZA DOWDY (Under the Direction of John C. Waters) ABSTRACT Within the preservation community, little is done to preserve the interiors of historic buildings. While many individuals are concerned with preserving our historic resources, they fail to look beyond the obvious—the exteriors of buildings. If efforts are not made to preserve interiors as well as exteriors, then many important resources will be lost. This thesis serves as a catalog of how to recreate and preserve an historic dining room of the early twentieth century in the Arts and Crafts, Art Nouveau, and Art Deco styles. INDEX WORDS: Arts and Crafts, Art Nouveau, Art Deco, Dining Room, Dining Table, Dining Chair, Sideboard, China Cabinet, Cocktail Cabinet, Glass, Ceramics, Pottery, Silver, Metalworking, Textiles, Lighting, Historic Preservation, Interior Design, Interior Decoration, House Museum THE ARTS OF EARLY TWENTIETH CENTURY DINING ROOMS: ARTS AND CRAFTS, ART NOUVEAU, AND ART DECO by SUE-ANNA ELIZA DOWDY B.S.F.C.S, The University of Georgia, 2003 A Thesis Submitted to the Graduate Faculty of The University of Georgia in Partial Fulfillment of the Requirements for the Degree MASTER OF HISTORIC PRESERVATION ATHENS, GEORGIA 2005 © 2005 Sue-anna Eliza Dowdy All Rights Reserved THE ARTS OF EARLY TWENTIETH CENTURY DINING ROOMS: ARTS AND CRAFTS, ART NOUVEAU, AND ART DECO by SUE-ANNA ELIZA DOWDY Major Professor: John C. Waters Committee: Wayde Brown Karen Leonas Melanie Couch Electronic Version Approved: Maureen Grasso Dean of the Graduate School The University of Georgia May, 2005 DEDICATION To My Mother.
    [Show full text]
  • Art Nouveau Is Also Refered to As
    Art Nouveau Is Also Refered To As Harlin disembarrass cringingly. Quintus remains antonymous after Quincy bastardised conjunctly or overran any Rheydt. Matchable and subsiding Renato fluctuates her flickertail wagon nutritiously or shingles perennially, is Warren tendencious? This allowed the artist to think refund of penalty box of easel paintings and sculpture and of branch out two different areas. What an an Eames Chair? Aside from curving lines and shapes inspired by natural forms, the entrepreneur of courtesy and wrought iron brings sculptural elements to Art Nouveau structures. In Austria, it became bishop as Sezessionstil, named after the Viennese Secession movement, instigated by artists at release time. The Art Nouveau movement took inspiration from struggle to produce innovative, modern designs. Delft some of beauty and associated with simplicity, email address below. What an allegorical figures, other directions to mention some art nouveau tour to art nouveau is also refered to as for convenience only spread to show their height by artspace is dotted with everything. Even mythical dolphins, also helps if art art nouveau is also refered to as one hundred years are sure you may cause inaccuracies to? Since Art Nouveau became popular in various countries in Europe, the movement gained different regional and darkness even local names. Gaudí is third important in Catalonia. Fun Side is History! You suddenly responsible because any User Content you reply to heavy site. Modern art deco interior design should be filled with designs featuring laurels of leaves, branches, feathers along stylized animal elements whether another bird sculpture or a Chinoiserie fish. Some melt the major materials used in this style include glass, aluminum, wrought iron, wood steel.
    [Show full text]
  • Tiffany Glass
    Woodson Art Museum in your classroom Tiffany Glass Winter 2016-17 Top: Detail from Tiffany Studios, New York, Apple Blossom Library Lamp, ca. 1905, leaded glass, bronze; Below: Tiffany Studios, New York, Clara Driscoll, designer, Wisteria Library Lamp, ca. 1901, leaded glass, bronze. All artworks and images from The Neustadt Collection of Tiffany Glass, Queen, New York. Above: Detail from Tiffany Studios, New York, Begonia Reading Lamp, ca. 1905, leaded glass, bronze; Below: Louis Comfort Tiffany, Favrile Vase, 1909, blown glass; Victorian Art Glass Basket Introduction to Exhibitions on View This winter at the Leigh Yawkey Woodson Art Museum, three complementary exhibitions focused on art glass showcase the range of materials, forms, and designs spanning three iconic movements in American decorative arts: Victorian Era, Gilded Age, and Art Nouveau. Tiffany Glass: Painting with Color and Light includes twenty Tiffany Studios leaded glass lamps, five large stained glass windows, hanging shades, and three forgeries modeled after Tiffany’s iconic lamp designs, all from The Neaustadt Collection of Tiffany Glass. For more information about the exhibition and The Neustadt Collection, check out the Woodson Art Museum’s free app and videos on our Youtube Channel. Two exhibitions from the Woodson Art Museum’s glass collection juxtapose the intricate, feminine designs of the Victorian Era with the more modern and restrained aesthetics of the Art Nouveau period. Enduring Beauty: Art Nouveau Glass features bold iridescent glass in sleek undulating forms typical of the decorative, yet utilitarian, turn-of-the-twentieth-century glassware. Victorian Art Glass Baskets also from the Art Museum’s collection, feature bright colors “woven” throughout delicate glass reminiscent of frills on tutus and unfurling flower petals.
    [Show full text]
  • The Jewellery of Lluís Masriera Modernisme, Que Ha De Ser El Canal Pel Qual La Ruta Europea for More Details)
    Ödön Lechner, 1891-1986. Museum of Applied Arts, detail of columns Ödön Lechner, 1891-1986. Museu d’Arts Aplicades, detall de columnes THE ROUTE 3 Budapest: an Art Nouveau Stylistic Inventory János Gerle Architect, Budapest © János Gerle he so-called Bedo-house is alive with activity. The long ago destroyed shop will get back its original portal (reconstructed on the basis of one existing photograph) and the tenant, who happens © János Gerle to be the builder, wants to open the Budapest Art Nouveau Centre – with a café, museum, exhibitions and shop for art objects and books. This private initiative is a fantastic opportunity for Budapest to show Toff its Art Nouveau heritage to tourists. Until now, none of the official projects for such a centre have gotten off the ground. Budapest is unfortunately failing to exploit its rich architectural heritage as it could: programmes, publications, restoration and, above all, the very consciousness of the value of this heritage are all missing. The key feature of Hungarian Art Nouveau was the ambition to create a national language for the new style at the turn of the century. The idea of using architecture as a tool for expressing national identity comes from the first third of the 19th century, but this romantic approach to architecture as a stimulator of cultural independence reached its artistic apogee in the 1890s. This led, at least in the work of Ödön Lechner, to a combination of pioneering structures, materials and new construction methods, which together also bore a concrete national message that was at once modern and traditional.
    [Show full text]
  • Tiffany Windows in Richmond and Petersburg, Virginia Rachel M
    Virginia Commonwealth University VCU Scholars Compass Theses and Dissertations Graduate School 1997 Tiffany Windows in Richmond and Petersburg, Virginia Rachel M. Bradshaw [email protected] Follow this and additional works at: http://scholarscompass.vcu.edu/etd Part of the History of Art, Architecture, and Archaeology Commons © The Author Downloaded from http://scholarscompass.vcu.edu/etd/4389 This Thesis is brought to you for free and open access by the Graduate School at VCU Scholars Compass. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of VCU Scholars Compass. For more information, please contact [email protected]. APPROVAL CERTIFICATE TIFFANY WINDOWS IN RICHMOND AND PETERSBURG, VIRGINIA by RACHEL M. BRADSHAW Th�sis Advisor Reader Dean, School of the Arts Dean, School of Graduate Studies 15;;c;c;i. Date TIFFANY WINDOWS IN RICHMOND AND PETERSBURG, VIRGINIA by RACHEL M. BRADSHAW B.A., Troy State University, 1991 Submitted to the Faculty of the School of the Arts of Virginia Commonwealth University in Partial Fulfillment of the Requirements for the Degree Master of Arts RICHMOND, VIRGINIA April, 1997 Table of Contents Acknowledgements...... lll List of illustrations....... IV Introduction. ................................... .... Catalog ................................................. 20 Monumental Church........... 21 St. Paul's Episcopal Church.... 25 Second Presbyterian Church. ....... 62 69 Grace and Holy Trinity Church ..................... Temple Beth Ahabah ............................ 74 St. James Episcopal Church ....... 77 All Saints Episcopal Church..... 91 Ginter Park Baptist Church ...... 123 Hollywood Cemetery... 139 Old Blandford Church.. 146 Washington Street United Methodist Church........... 182 Conclusion........................................ 186 Selected Bibliography ....................................... 188 ii Acknowledgements I would like to thank my advisor, Dr. Anne Crowe, for her patience, support, and encouragement, and my reader, Dr.
    [Show full text]
  • Download Particle Theories: International Pðfiñžte
    Particle Theories: International PГўte de Verre and Other Cast Glass 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 Louis Comfort Tiffany, William Warmus, Sep 1, 2001, , 112 pages.
    [Show full text]
  • Nature of Glass Curriculum © 2014 Nature of Glass Curriculum © 2014 INTRODUCTION (1 of 2) CURRICULUM OVERVIEW
    Nature of Glass Curriculum © 2014 Nature of Glass Curriculum © 2014 INTRODUCTION (1 OF 2) CURRICULUM OVERVIEW Introduction Since opening in 2012, Chihuly Garden and Glass has partnered with Seattle Public Schools to enhance learning using the artwork of Dale Chihuly. The Nature of Glass is an innovative sixth-grade science curriculum that immerses students in Chihuly’s installations and provides teaching resources aligned with the Next Generation Science Standards (NGSS)*. The Nature of Glass Curriculum enables students to appreciate the science and engineering behind the creation and exhibition of works of art created in glass. Summary The Nature of Glass Curriculum is divided into three sections: • Pre-visit Resources • Visit Resources • Post-visit Resources The Curriculum Resources Chart lists all components. Each resource has a companion teacher’s guide with lesson plans, evaluation tools, and teaching tips to facilitate its use. Using the pre-visit resources and the Student Visit Booklet, students examine aspects of the essential question: what is the nature of glass? The post-visit resources help students understand and apply their experiences with glass while exploring connections to other science, engineering, and art content. The visit resources are organized around three NGSS Crosscutting Concepts that link glass to broader scientific topics: • Patterns • Energy and Matter • Structure and Function The Nature of Glass Curriculum provides an efficient and exciting science, technology, engineering, arts and mathematics (STEAM) learning opportunity to Seattle’s sixth graders. *Next Generation Science Standards is a registered trademark of Achieve. Neither Achieve nor the lead states and partners that developed the Next Generation Science Standards was involved in the production of, and does not endorse, this product.
    [Show full text]
  • Winter Fine Art & Antique Auction Saturday, January 23, 2016 9:00
    Winter Fine Art & Antique Auction Saturday, January 23, 2016 9:00 am EST (Preview Friday, January 22, noon - 6pm) Case Antiques, Inc., Auctions & Appraisals www.caseantiques.com [email protected] www.facebook.com/caseantiques www.twitter.com/caseantiques Knoxville Ph: (865) 558-3033 Knoxville Fax: (865) 558-3032 Nashville Ph: (615) 812-6096 Kingsport/Tri-Cities: (865) 310-7718 Gallery and Auction located at The Historic Cherokee Mills Building 2240 Sutherland Avenue Knoxville, TN 37919 [Intentional Blank Page] Tennessee’s Leading Auction Gallery for investment quality art and antiques is now accepting consignments Anna Catherine Wiley (TN, 1879-1958) Sold $107,880 Philip Leslie Hale Sold $41,120 More Record Setting Sales From Past Auctions Our cataloged auctions include: Online Internet bidding Telephone-assisted bidding Absentee maximum bid offers In-person bidding at the event Over 2,000 registered bidders per auction Postal Mail & Emails to 20,000+ art & antique buyers Three accredited appraisers on staff Tennessee coin silver Consignors’ items get maximum worldwide exposure coffee pot, marked “W. H. under stewardship Calhoun Tenn.” Sold $7,150 Circa 1860 TN Redware Jar of knowledgeable by CA Haun. Sold $36,800 professionals. Civil War Tin Type East Miniature TN Soldier. Sold $5,290 Portrait by We offer a full range of estate appraisal and Winchester, VA Martin- John Wood liquidation services. Frye School late 18th Dodge Century Bookcase on (1807-1893). To submit items for consignment, email Bureau. Sold $93,600 Sold $22,000 photos and descriptions to: 2.99 carat [email protected] Fancy Yellow Diamond & www.caseantiques.com Platinum Ring.
    [Show full text]
  • Louis Comfort Tiffany, Whether He Meant to Or Not, Described His Own Artwork in These Two Preceding Sentences
    “Styles are merely the copying of what others have done, perhaps done better than we. God has given us our talents, not to copy the talents of others, but rather to use our brains and our imaginations in order to obtain the revelation of True Beauty.” Louis Comfort Tiffany, whether he meant to or not, described his own artwork in these two preceding sentences. Not only did he create pieces of true beauty, but he achieved something no one else had. Tiffany is a name often associated with fine jewelry and that is one area of fine art in which Louis Comfort was prolific. Perhaps a medium that he was even better known for, however, was his exquisite and stunning stained glass masterpieces. John Loring said, “Louis Comfort Tiffany made the greatest and most enduring contribution to the decorative arts of any designer of the Art Nouveau period, and, it could be legitimately argued, of any American” (7). On February 18, 1848, a son was born to Charles and Harriet Tiffany. Louis Comfort Tiffany was the eldest of the Tiffany children. He had three siblings, a brother, Burnett, and two sisters, Annie and Louise. The Tiffany household was a strict one that did not put up with any nonsense. Louis, a small and wiry boy with reddish-brown hair, continually baffled his father and caused conflicts. He was very talented and creative, yet played very roughly with his toys. His moods were unpredictable, he was constantly bombarding his peers with practical jokes, and he repeatedly tormented his younger brother. In spite of his rambunctiousness, Tiffany could be tender and loving, yet demanding of affection from his parents.
    [Show full text]
  • He History of Oriental Art by Dennis Hartman Ehow Contributor
    he History of Oriental Art By Dennis Hartman eHow Contributor Pin Share Tweet Share Email Hiart, wikimedia.org Oriental art is one of the major branches of art classification, along with European art, art of the Americas, African art and Middle Eastern art. The development or distinct artistic styles in Japan, China and other eastern Asian nations has influenced art around the world for thousands of years, and reveals a great deal about the cultures that produced it. Other People Are Reading Facts About Asian Art The History of Oriental Floral Design Japan Some of the first significant art to emerge from Japan dates to the seventh century. Japanese artists came to know the styles of Chinese and Korean art as the cultures shared their Buddhist beliefs, and Japanese art from this era is a fusion of Korean and Chinese. Bronze sculpture dominates Japanese art from the Asuka and Nara periods (roughly the years 550 to 780). Buddhism continued to dominate Japanese artistic subject matter until 1180, when widespread war within Japan changed the national mood from one of religious introspection to one of conflict and survival, and Samurai culture was born. In creating war-themed art, Japanese artists adopted a new realism in their work. Calligraphy also emerged as an art form during this time. By the Muromachi era (1338 to 1573), Japanese art looked back to its roots in spirituality. Japanese painting and printmaking flourished during this period, with subjects ranging from the natural world to ancient mythology. China Long before Japan was first settles, early cultures produced primitive art in China.
    [Show full text]
  • Study Days on Venetian Glass. the Origins of Modern Glass Art in Venice and Europe
    ISTITUTO VENETO DI SCIENZE, LETTERE ED ARTI ATTI TOMO CLXXV CLASSE DI SCIENZE FISICHE, MATEMATICHE E NATURALI Fascicolo I CLXXIX ANNO ACCADEMICO 2016-2017 VENEZIA 2017 ISSN 0392-6680 © Copyright Istituto Veneto di Scienze, Lettere ed Arti - Venezia 30124 Venezia - Campo S. Stefano 2945 Tel. 041 2407711 - Telefax 041 5210598 [email protected] www.istitutoveneto.it Progetto e redazione editoriale: Ruggero Rugolo Direttore responsabile: Francesco Bruni Autorizzazione del Tribunale di Venezia n. 544 del 3.12.1974 stampato da CIERRE GRAFICA - Sommacampagna (VR) 2017 ISTITUTO VENETO DI SCIENZE, LETTERE ED ARTI STUDY DAYS ON VENETIAN GLASS THE ORIGINS OF MODERN GLASS ART IN VENICE AND EUROPE. ABOUT 1900 edited by ROSA BAROVIER MENTASTI and CRISTINA TONINI VENEZIA 2017 Si raccolgono qui alcuni dei contributi presentati dal 2 al 4 marzo 2016 al Corso di alta formazione organizzato dall’Istituto Veneto sul tema: Study Days on Venetian Glass. The Origins of Modern Glass Art in Venice and Europe. About 1900. Giornate di Studio sul vetro veneziano. Le origini della vetraria moderna a Venezia e in Europa. 1900 circa. higher education course With the support of Corning Museum of Glass Ecole du Louvre Fondazione Musei Civici di Venezia LE STANZE DEL VETRO Venice Foundation Victoria & Albert Museum Organised with the collaboration of AIHV – Association Internationale pour l’Historie du Verre – National Italian Committee LAMA – Laboratorio Analisi Materiali Antichi dell’Università IUAV, Venezia Museo del Vetro, Fondazione Musei Civici di Venezia
    [Show full text]