The Glass Artists Studio Handbook: Traditional and Contemporary Techniques for Working with Glass Pdf

FREE THE GLASS ARTISTS STUDIO HANDBOOK: TRADITIONAL AND CONTEMPORARY TECHNIQUES FOR WORKING WITH GLASS PDF

In and artist Harvey K. Littleton, a professor of fine arts at the University of Wisconsin and son of the director of research at the Corning Glass Works, held a series of informal workshops to explore the art of hot glassmaking in a studio setting. Until then, almost without exception, glass objects had been blown or molded in an industrial context—that is, they were factory made. Nevertheless, art glass continued to be blown in factories, such as Orrefors in Sweden, Tiffany in the United States, and Lalique in France. In the s, Littleton became convinced, after visiting a few European glassmakers working alone, that an artist could maintain a complete glassmaking facility within a studio; thanks to his determination and the creation of a low-melting glass formula by artist Dominick Labino, the studio glass movement was The Glass Artists Studio Handbook: Traditional and Contemporary Techniques for Working with Glass. Progress was so swift that when, a decade later, The Metropolitan Museum of Art established a department devoted to the arts of the twentieth century, its curators sought out not only the innovative glass art of Harvey Littleton and Dominick Labino, but also the work of such emerging artists as Dale Chihuly, Michael Glancy, and Jon Kuhn. Glass art had arrived. During the s, in both Europe and the United States, the liberal political and social climate encouraged a new freedom in artistic expression. Artists who wanted to work in the medium of glass could take courses in colleges and universities and even graduate with a degree in glassmaking. Dale Chihuly, whose masterworks in glass and remarkable enthusiasm helped establish glass in the art world, founded the Pilchuck School near Seattle, devoted solely to the making of glass art and to teaching the various techniques available to artists. Experiments in abstract sculpture gave way to narrative works and assemblages that often conveyed a personal message. Erwin The Glass Artists Studio Handbook: Traditional and Contemporary Techniques for Working with Glass, working in Bavaria, engraved and painted his glass portrait heads of Picasso and Buddha with images expressing the horrors of war. Ginny Ruffner explored the women's liberation movement and the history of art through her lamp-worked sculptures. Artists no longer had to rely on the glass industry to create unique masterpieces of glass art. Lucio Fontana: On the Threshold. Rosenheim, Jeff L. Lee Collection. Search for a Met publication from Publication type. Adlin, Jane Jane Adlin. Herman, Samuel J. American Art, 20th Century. Print Titles. Adlin, Jane. Vanities: Art of the Dressing Table. Agee, James. Many Are Called. Ainsworth, Maryan W. Bayer, Peter J. Boehm, Andrew Bolton, Sheila R. Canby, Iria Candela, John T. Doyle, Maryam Ekhtiar, Douglas S. Eklund, Alyce Englund, Helen C. Hokanson, Melanie Holcomb, Mellissa J. Huber, Timothy B. Lightfoot, Charles T. Little, Mark P. Mertens, J. Wolohojian, and Sylvia Yount. Avedon, Richard. Richard Avedon Portraits. Howat, Weston J. Naef, Edwin M. T he Metropolitan Museum of Art Bulletinv. Baker, Elizabeth C. Ellsworth Kelly: Recent Paintings and Sculptures. Bearden, Romare. Bolton, Andrew, with an essay by Michael Chabon. Superheroes: Fashion and Fantasy. Wild: Fashion Untamed. Bolton, Andrew. Bowles, Hamish, with essays by Arthur M. Schlesinger Jr. Byrne, Janet S. The Metropolitan Museum of Art Bulletinv. Campbell, Thomas P. New York: Metropolitan Museum of Art, Carboni, Stefano. Cheryl Finley, Randall R. Griffey, Amelia Peck, Darryl Pinckney. Schub, and Priscilla Tucker. Clark, Robert Judson, Andrea P. Belloli, with David G. De Long, Martin Eidelberg, J. Taragin, and Christa C. Mayer Thurman. Design in America: The Cranbrook Vision, — Conroy, Frank. The Metropolitan Museum of Art Bulletin, v. The Glass Artists Studio Handbook: Traditional and Contemporary Techniques for Working with Glass, Malcolm. Downs, Joseph. Eklund, Douglas. The Pictures Generation, — Frelinghuysen, Alice Cooney. Galitz, Kathryn Calley. Gardner, Albert TenEyck, A. Hyatt Mayor, and James J. Geldzahler, Henry. American Painting in the Twentieth Century. Gere, Charlotte. Goldberger, Paul. Frank Stella: Painting into Architecture. Griffey, Randall R. Hale, Robert Beverly. Hambourg, Maria Morris, Jeff L. Rosenheim, Douglas Eklund, and Mia Fineman. Walker Evans. Hambourg, Maria Morris. Paul Strand circa Hamilton, George Heard. Heckscher, Morrison H. Hunter-Stiebel, Penelope. Ivins, W. How Prints Look: Photographs with a Commentary. Ivins, William Mills, Jr. Jackson-Dumont, Sandra, ed. Kaufmann, Edgar, Jr. Charles James: Beyond Fashion. Studio Glass in The Metropolitan Museum of Art | MetPublications | The Metropolitan Museum of Art

But it was not until after the Second World War that the paperweight renaissance truly began. The growing interest in antique weights, the rising value of such pieces in the marketplace, and the limited quantities available helped set the stage for the revival of paperweight making as an art form in the s. One of the driving forces behind production of contemporary paperweights was Paul Jokelson, an importer and avid paperweight enthusiast. During the early s, Jokelson approached two of the famous glass factories of the classic period—Baccarat and Saint Louis—and urged them to revive the art of paperweight making. Once they succeeded, the grow ing interest in contemporary weights led to further experimentation and production. As soon as modern paperweights became commercially successful, more glass factories joined Baccarat and Saint Louis in producing them. The major technical difference in these three situations is the origin of the glass. Factories use furnaces or large vats to make their own glass, a pontil rod is used to collect the gather, and the molten glass is formed and shaped. Most studio artists use lampworking techniques to work with solid glass slugs that are purchased commercially. These slugs are melted down and manipulated into shape over a small gas burner or torch. In cold work, cold glass is manipulated through mechanical means, especially cutting, sandblasting, and polishing. New areas emerge as these factories and artists reach the edges of creativity and then expand beyond them. Still the essentials remain unchanged: the artist, the glass, and the fire. Objects of beauty and mystery emerge from their skilled hands. In this section we begin with the major factories, followed by the individual artists who use this technique. In Octobera magnificent millefiori paperweight was found in the cornerstone of the old parish church at Baccarat, which had been severely damaged during World War II. The weight, which included an date cane, contained millefiori canes. The dis. The first contemporary weight made by the factory was not, interestingly enough, a millefiori design. Because Baccarat had no records of the millefiori technique, it took several years of research and experimentation before its craftsmen finally succeeded in producing some millefiori pieces in By that time the company had already rediscovered, mastered, and begun production of anotherstyle of paperweight—the sulphide. Baccarat began making sulphide paperweights inagain at the urging of collector and connoisseur Paul Jokelson. The first attempt, which was a piece based on Dwight D. But the experiment proved to the craftsmen that encasing cameos in glass could be done. Later that year the factory produced its first successful contemporary sulphide to The Glass Artists Studio Handbook: Traditional and Contemporary Techniques for Working with Glass the coronation of Queen Elizabeth II. This paperweight, which portrayed the Queen and the Duke of Edinburgh in double profile, was extremely popular and led Baccarat to the production of a long series of sulphides. InBaccarat craftsman Jean Benoit began working on lampwork-style paperweights. With the advice and help of American paperweight maker Francis Whittemore, Benoit soon mastered the technique, and in the early s Baccarat added lampwork weights to its contemporary line. In Baccarat began producing a lampwork collection for each year, using one theme throughout. These weights present a variety of flowers, fruit, or animals on clear and colored grounds [5. Baccarat Millefiori: By Baccarat had mastered the millefiori technique and was producing a few fine millefiori paperweights. These pieces, which were marked 1 to 9, or datedwere not distributed commercially. In the factory produced its first weights for sale; these weights contained the figure 8 for theyear of identification. Later that year weights with canes bearing the tw elve signs of the zodiac in black and white opaline were introduced. These zodiac canes are included in modern Baccarat close packed millefiori to help collectors distinguish them from antique pieces. Baccarat millefiori weights generally contain from to canes. In Baccarat revived the Gridel silhouette canes. A series of eighteen weights was produced over a period of eight years. Each of these contemporary Gridel weights has an enlarged central animal cane surrounded by a millefiori pattern including the other seventeen Gridel canes. Each subsequent design was limited to not more than pieces. The Glass Artists Studio Handbook: Traditional and Contemporary Techniques for Working with Glass Sulphides: Since the first Baccarat sulphide was produced inmany other sulphides have been made, often in honor of American presidents and other notable world figures. The majority of these pieces were produced in limited editions. To mark the completion of a particular limited edition and to ensure that no further pieces are made, the cameo mold is ground down to destroy its face. In the case of the coronation sulphide, this was done ceremonially, with officials of the company and a notary in attendance. Poill- erat, well known as a sculptor, medal engraver, and designer of jewelry, worked with Baccarat to rediscover sulphide-making techniques. Cochet, both of whom worked as official sculptors lor the French Mint. Dora Maar sometimes spelled Mara protegee of Picasso, also designed two sulphides for Baccarat. Baccarat sulphides are usually produced in regular and overlay editions with a variety of ground colors and cutting designs. Color grounds include red, blue, green, purple, and golden yellow. Founded by Steven V. Correia inCorreia Art Glass in southern California is considered one of the finest art glass studios in operation today. He was encouraged by his teachers and was enrolled in a gifted students program while still in high school. Originally interested in sculpture and ceramics, his work with three-dimensional mediums led him to glass work. Correia was fascinated by the iridescent lustres of the famed Tiffany Studios. The original techniques of Louis Comfort Tiffany were lost until Correia was able to recreate them. As the largest limited-production art glass studio in the country, Correia Art Glass has become famous for its art nouveau and art deco designs, iridescent color, anil exceptional The Glass Artists Studio Handbook: Traditional and Contemporary Techniques for Working with Glass. In the first years of production, Correia paperweights featured iridescent surface decorations. Later weights utilized lampwork designs, characterized by floral, animal, and aquatic scenes. Each weight had a frosted outer surface with one large facet cut to reveal the interior design. The facet was usually placed at an angle for easy viewing when placed on display. Correia Art Glass is now run by Correia family members. Steven has moved on to producing large-scale laser performances, like the permanent light sculpture he created in front of a building in San Diego. He is also making glass sculptures using cold working techniques. George Simon, a well-known engraver for the French Mint, was the first artist to create sulphide cameos for the factory. This first Kennedy weight was only produced in a. All weights of the same subject are finished with identical faceting designs and the same color or color combi nations. Deacons chose this same mark to honor the unknown creator of those ingenious weights and to identify his own skillful creations. The company produced paperweights in the classic style until it ceased operation in Located in the small coastal town of Davenport, California, Lundberg Studios has been producing quality paperweights since It first became known for its iridescent glass and art nouveau style. Later, its clear-encased weights with flower, bird, butterfly, and seascape motifs marked the emergence of a new form of paperweight. James Lundberg, founder of the studio, first studied glassworking at California State University at San Jose during the late s. Classically trained in ceramics, Lundberg worked for a time with Dr. The Glass Artists Studio Handbook: Traditional and Contemporary Techniques for Working with Glass Sanders, researching the Arabian smoke lustres. A graduate tour took him to Germany, Italy, England, France, and Spain to continue studying glassmaking techniques. When he returned to the United States he joined with David Salazar and several other artists to create a small backyard glass studio in San Jose, California. At that time he became the first California glass artist to reproduce the colors and patterns of the highly acclaimed Tiffany Studios. A year later he moved to Davenport, California, to set up a cooperative venture with Mark Cantor and others. The facility included four melting furnaces, five glory holes, and two torchworking areas for paperweights, as well as a complete grinding setup and lamp shop. Lundberg Studios has consistently been staffed by glass artists working in the Renaissance studio tradition, with each contributing his or her unique skills to the glass process. Steven Lundberg originally trained as first apprentice to his brother James. Over the years he has worked in all aspects of glassmaking at the studio and is now a recognized glass master. David Salazar began as an apprentice in His torchwork helped to enlarge the paperweight-making focus of the studio. During the next eight years he worked primarily as paperweight decorator and designer. In Chris Buzzini joined the cooperative to offer his specific The Glass Artists Studio Handbook: Traditional and Contemporary Techniques for Working with Glass skills. Daniel Salazar, who began as a pontil man for brother David and Buzzini inis now a master paperweight designer and decorator. In James Shaw joined the team primarily as cutter and polisher. George Shaw and Chris Bushman also lent their talents to the enterprise. Out of the combined experience and expertise of all the artists, a new type of paperweight began to be produced at Lundberg Studios in about It allowed for the direct application of complex three-dimensional imagery and enlarged the range of paperweights being offered by Lundberg. By the The Glass Artists Studio Handbook: Traditional and Contemporary Techniques for Working with Glass was producing crystal encased weights in the new style on a regular basis. The formulations, the special tools, and equipment have all been labors of love. I always look into the material for my inspiration. I am a glass man. Today Steven Lundberg, Daniel Salazar, and Samuel Sturgeon are the resident artists, but the influence of Lundberg Studios can be seen in the works of many of the prominent glass houses. Lundberg Studios continues to be a leader in the introduction of new designs and motifs. Glass artists Douglas Boyd and David Hopper studied at California State University in San Jose during the late s, where they took part in some The Glass Artists Studio Handbook: Traditional and Contemporary Techniques for Working with Glass the earliest college classes offered in glassblowing on the West Coast. The first house where we blew glass in Chico was located between Orient and Flume Streets. Types of Glass Art | Common Ways to Make Contemporary Art Glass

The Glass program at the School of Art is a reflection of glassmaking practices throughout history, including both traditional and contemporary achievements. The relatively recent studio glass movement since the s has transformed our understanding of glassmaking from primarily a craft to a valid and lively branch of contemporary art. The glass program explores both paradigms, tracing the story of glass over thousands of years. The program aims not only to illuminate the legacy of past artists, but to foster artists who will be on the forefront of redefining studio glassmaking into the future. The glass program challenges students to explore glass as a creative medium, both technically and conceptually, within the broader context of contemporary art. In addition to the fundamentals of glassblowing, students learn glass The Glass Artists Studio Handbook: Traditional and Contemporary Techniques for Working with Glass, slumping, fusing, flameworking, enameling, cold-working and assembly, resulting in a rich technical fluency. Meanwhile, students are also challenged to think critically about The Glass Artists Studio Handbook: Traditional and Contemporary Techniques for Working with Glass techniques are best able to communicate their own artistic ideas. Students explore glass as both a material and an idea, pushing the boundaries of glassblowing within the broader context of contemporary art. Both interdisciplinary and mixed media approaches are actively encouraged. Serious student-artists with a proclivity for creative thinking will find the glass program congenial to their vision. Building on the legacy of the American Studio Glass Movement, the program fosters artists who will be on the forefront of redefining studio glassmaking into the future. Graduate students are encouraged to develop a sound knowledge of concepts and techniques in the discipline and strong drawing skills. A major determinant of the success of this program resides in the healthy interaction of students and faculty. Applicants are accepted into the program based on the quality of the work presented in their portfolio, a demonstrated commitment to artistry and an interest and understanding of glass as expressive form. Davin Ebanks. Skip to main content. Live Chat. Davin Ebanks Assistant Professor debanks kent. School of Art. College of the Arts. Mailing Address P. Box Kent, OH Street Address E. Summit St. Kent, OH Contact Us info kent. Facebook Facebook. Instagram Instagram. Twitter Twitter.