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Reflecting Antiquity Explores the Rediscovery of Roman Glass and Its Influence on Modern Glass Production
Reflecting Antiquity explores the rediscovery of Roman glass and its influence on modern glass production. It brings together 112 objects from more than 24 lenders, featuring ancient Roman originals as well as the modern replicas they inspired. Following are some of the highlights on view in the exhibition. Portland Vase Base Disk The Portland Vase is the most important and famous work of cameo glass to have survived from ancient Rome. Modern analysis of the vase, with special attention to the elongation of the bubbles preserved in the lower body, suggest that it was originally shaped as an amphora (storage vessel) with a pointed base. At some point in antiquity, the vessel suffered some damage and acquired this replacement disk. The male figure and the foliage on the disk were not carved by the same Unknown artist that created the mythological frieze on the vase. Wearing a Phrygian cap Portland Vase Base Disk Roman, 25 B.C.–A.D. 25 and pointing to his mouth in a gesture of uncertainty, the young man is Paris, a Glass Object: Diam.: 12.2 cm (4 13/16 in.) prince of Troy who chose Aphrodite over Hera and Athena as the most beautiful British Museum. London, England GR1945.9-27.2 goddess on Mount Olympus. It is clear from the way the image is truncated that VEX.2007.3.1 it was cut from a larger composition, presumably depicting the Judgment of Paris. The Great Tazza A masterpiece of cameo-glass carving, this footed bowl (tazza) consists of five layers of glass: semiopaque green encased in opaque white, green, a second white, and pink. -
The Investigation Into the Development of Glass As an Expressive Medium in China Through Direct Contact with Western Methods of Making, Decoration and Forming
The investigation into the development of glass as an expressive medium in China through direct contact with Western methods of making, decoration and forming. By XUE LU (Shelly) MA. BA (Hons) A thesis submitted in partial fulfilment of the requirement of the University of Wolverhampton for the Degree of Doctor of Philosophy 2009 This work or any part thereof has not previously been presented in any form to the University or to any other body whether for the purpose of assessment, publications or for any other purpose (unless previously indicated). Save for any express acknowledgements, references and/or bibliographies cited in the work, I confirm that the intellectual content of the work is the result of my own effects and of no other person. The right of XUE LU to be identified as author of this work is asserted in accordance with ss.77 and 78 of the copyright, Design and Patents Act 1988. At this date copyright is owned by the author. Signature: …………………. Date: ………………………. Abstract 2 Abstract This thesis is an investigation into the development of glass as an expressive medium in China through direct contact with Western methods of making, decoration and forming glass. The investigation proceeds through an analysis of the parallels between glass objects produced from Kangxi (1662-1722) to Qianlong period (1736-96), and contemporary practitioners’ (2000-2009), which is complemented by my own practice. The investigation mainly looks at three aspects and their inter-relationship within these strands. They are: 1) the history of glassmaking from 1696 to 1795 in the Qing dynasty with Western influences; 2) the analysis of Contemporary Chinese studio/academic glass within the imported UK model; 3) the development of my personal glass practice within this matrix. -
Richard Marquis
Richard Marquis Born 1945 Bumblebee, AZ Education 1972 M.A. University of California, Berkeley 1969 B.A. University of California, Berkeley Selected Honors and Awards 2010 Neddy Artist Fellowship, The Behnke Fellowship, Seattle, WA 2009 James Renwick Alliance Masters of the Medium Award 2006 Lifetime Achievement Award, Art Alliance of Contemporary Glass 2005 Lifetime Achievement Award, Glass Art Society 2004 Libensky Award, Pilchuck Glass School and Artist Series Meritage, Chateau Ste. Michelle, Woodinville, WA 2000 Outstanding Achievement in Glass, Urban Glass, New York Selected Distinguished Alumnus, College of Environmental Design, U.C. Berkeley 1995 Elected to the College of Fellows of the American Crafts Council, New York 1982, 88 Fulbright Hayes Grant (Senior), New Zealand 1979-82 Research Grant, U.C.L.A. 1974, 78, 81, 90 National Endowment for the Arts Grant 1974-76 Australian Crafts Council Grant 1969 Fulbright Grant, Venice, Italy (Venini & Co.) 1967 President’s Fellowship, U.C. Berkeley 1966 Eisner Prize for Design, U.C. Berkeley 1963 National Merit Scholarship Selected Exhibitions 2013 “Masters of Studio Glass: Richard Marquis,” Corning Museum of Glass, Corning, NY “Links: Australian Glass and the Northwest”, Museum of Glass, Tacoma, WA “Playing with Fire: 50 Years of Contemporary Glass”, Museum of Art and Design, NY, NY 2012 “Color Ignited”, Toledo Museum of Art, Toledo, OH “50 Years of Studio Glass”, Kentucky Museum of Art and Craft, Louisville, KY “Handle with Care: Recent Acquisitions in Glass”, Racine Art Museum, Racine, WI 2011 “Handle with Care: Recent Acquisitions in Glass”, Racine Art Museum, Racine, WI “The Golden State of Craft: California 1960-1985”, Craft & Folk Art Museum, Los AUSTIN ART STUDIO RING. -
Download New Glass Review 15
eview 15 The Corning Museum of Glass NewGlass Review 15 The Corning Museum of Glass Corning, New York 1994 Objects reproduced in this annual review Objekte, die in dieser jahrlich erscheinenden were chosen with the understanding Zeitschrift veroffentlicht werden, wurden unter that they were designed and made within der Voraussetzung ausgewahlt, daB sie inner- the 1993 calendar year. halb des Kalenderjahres 1993 entworfen und gefertigt wurden. For additional copies of New Glass Review, Zusatzliche Exemplare der New Glass Review please contact: konnen angefordert werden bei: The Corning Museum of Glass Sales Department One Museum Way Corning, New York 14830-2253 Telephone: (607) 937-5371 Fax: (607) 937-3352 All rights reserved, 1994 Alle Rechte vorbehalten, 1994 The Corning Museum of Glass The Corning Museum of Glass Corning, New York 14830-2253 Corning, New York 14830-2253 Printed in Frechen, Germany Gedruckt in Frechen, Bundesrepublik Deutschland Standard Book Number 0-87290-133-5 ISSN: 0275-469X Library of Congress Catalog Card Number Aufgefuhrt im Katalog der Library of Congress 81-641214 unter der Nummer 81 -641214 Table of Contents/lnhalt Page/Seite Jury Statements/Statements der Jury 4 Artists and Objects/Kunstlerlnnen und Objekte 10 Bibliography/Bibliographie 30 A Selective Index of Proper Names and Places/ Ausgewahltes Register von Eigennamen und Orten 58 etztes Jahr an dieser Stelle beklagte ich, daB sehr viele Glaskunst- Jury Statements Ller aufgehort haben, uns Dias zu schicken - odervon vorneherein nie Zeit gefunden haben, welche zu schicken. Ich erklarte, daB auch wenn die Juroren ein bestimmtes Dia nicht fur die Veroffentlichung auswahlen, alle Dias sorgfaltig katalogisiert werden und ihnen ein fester Platz in der Forschungsbibliothek des Museums zugewiesen ast year in this space, I complained that a large number of glass wird. -
2636-011 Seattle Art Museum Records
UNlVERSllY U BRARIJES w UNIVERSITY of WASHI NGTON Spe ial Colle tions 2764 Seattle Art Museum Records Inventory Accession No: 2636-011 Special Collections Division University of Washington Libraries Box 352900 Seattle, Washington, 98195-2900 USA (206) 543-1929 This document forms part of the Preliminary Guide to the Seattle Art Museum Records. To find out more about the history, context, arrangement, availability and restrictions on this collection, click on the following link: http://digital.lib.washington.edu/findingaids/permalink/SeattleArtMuseum2636/ Special Collections home page: http://www.lib.washington.edu/specialcollections/ Search Collection Guides: http://digital.lib.washington.edu/findingaids/search Seattle Art Museum Acc. #?.636-11 Modern Art Department CONTAINER LIST _ Box EXHIBITION FILES 1 LIST OF EXHIBITIONS FROM FILE DRAWER, APRIL 1975 through 1976 May 8 - June B, 1975: University of Washington Masters Theses Exhibition Organized by the Seattle Art Museum and the University of Washington Participants: Bob Magruder, V'lou Oliveira - ceramics Tim Ely, Larry Stair & Dennis Evans - design Margie Ogle, Jeanne Ilgen - metal jewelry Alan Bradley, Peggy Cooley, Jo David, Isabel Hamilton, Steve McClelland, Ithipol Thangchalok - painting Carl Chew, Brad Keil, Barbara McAusland, Sherry Markovitz, M~ke Peterson - printmaking Francie Allen, Stuart Branston, Tom Duchscher, Jim Feroe, Dave Gallagher, Kim Hoffman, Margaret Hays - sculpture Carol Wood, Pat Spatk, Sherry Charles, Melinda PhilJips - textiles May 8 - June 22, 1975: Prints from the Untitled Press Organized by the Wadsworth Atheneum, Hartford, Connecticut Participants: Cy Twombly, Brice Marden, David Bradshaw, Bob Petersen, Robert Whitman, Robert Rauschenberg, Hisachika Taka Hashi April 1 - May 6, 1975: Selections From Seattle Art Museum Permanent Collection Organized by the Seattle Art Museum. -
Of the Grand Cameo: a Holistic Approach to Understanding the Piece, Its Origins and Its Context Constantine Prince Sidamon-Eristoff Sotheby's Institute of Art
Sotheby's Institute of Art Digital Commons @ SIA MA Theses Student Scholarship and Creative Work 2018 The "Whys" of the Grand Cameo: A Holistic Approach to Understanding the Piece, its Origins and its Context Constantine Prince Sidamon-Eristoff Sotheby's Institute of Art Follow this and additional works at: https://digitalcommons.sia.edu/stu_theses Part of the Ancient, Medieval, Renaissance and Baroque Art and Architecture Commons, Fine Arts Commons, and the Metal and Jewelry Arts Commons Recommended Citation Sidamon-Eristoff, Constantine Prince, "The "Whys" of the Grand Cameo: A Holistic Approach to Understanding the Piece, its Origins and its Context" (2018). MA Theses. 14. https://digitalcommons.sia.edu/stu_theses/14 This Thesis is brought to you for free and open access by the Student Scholarship and Creative Work at Digital Commons @ SIA. It has been accepted for inclusion in MA Theses by an authorized administrator of Digital Commons @ SIA. For more information, please contact [email protected]. The “Whys” of the Grand Cameo: A Holistic Approach to Understanding the Piece, its Origins and its Context by Constantine P. Sidamon-Eristoff A thesis submitted in conformity With the requirements for the Master’s Degree Fine and Decorative Art and Design Sotheby’s Institute of Art 2018 Word Count: 14,998 The “Whys” of the Grand Cameo: A Holistic Approach to Understanding the Piece, its Origins and its Context By: Constantine P. Sidamon-Eristoff The Grand Cameo for France is the largest cameo surviving from antiquity. Scholars have debated who is portrayed on the stone and what its scene means for centuries, often, although not always, limiting their interpretations to this narrow area and typically only discussing other causes in passing. -
English Cameo Glass
ENGLISH CAMEO GLASS THE CORNING MUSEUM OF GLASS ENGLISH CAMEO GLASS IN THE CORNING MUSEUM OF GLASS DAVID WHITEHOUSE THE CORNING MUSEUM OF GLASS CORNING, NEW YORK Cover: Moorish Bathers. England, Amblecote, Thomas Webb & Sons, carved and engraved by George Woodall, 1898. D. 46.3 cm. The Corning Museum of Glass (92.2.10, bequest of Mrs. Leonard S. Rakow). Copyright © 1994 The Corning Museum of Glass Corning, New York 14830-2253 Editor: John H. Martin Photography: Nicholas L. Williams Design and Typography: Graphic Solutions, Corning, New York Printing: Upstate Litho, Rochester, New York Standard Book Number 0-87290-134-3 Library of Congress Catalog Card Number 94-071702 FRONTISPIECE. The Great Dish. CONTENTS Preface 7 Introduction 11 The Early Years 17 Stevens & Williams 31 Thomas Webb & Sons 33 A Woodall Miscellany 42 Epilogue 56 Further Reading 58 Notes on the Illustrations 59 Notes 63 FIG. 1. The Portland Vase. PREFACE THIS SHORT BOOK has two objectives: to cele- makers tried unsuccessfully to make a replica of brate the achievements of 19th-century English it, and in the 1820s and 1830s several silver ver- cameo glass makers and to focus attention on the sions were made by the London firm of Rundle, outstanding examples of their work in the collec- Bridge, and Rundell. tion of The Corning Museum of Glass. In the early 19th century—possibly as early Cameos are objects with two or more layers as 1804—glassmakers in Bohemia began to of different colors. The outer layer or layers are "case," or cover, colorless glass with a layer of partly removed to create relief decoration on a colored glass that was then cut through to reveal background of contrasting color. -
Image Transfer - Remix Culture at the Henry - Another Bounci
Image Transfer - Remix Culture at the Henry - Another Bounci... http://www.artsjournal.com/anotherbb/2010/12/image-transfer--... an ARTSJOURNAL weblog | ArtsJournal Home | AJ Blog Central Another Bouncing Ball Regina Hackett takes her Art to Go Image Transfer - Remix Culture at the Henry ABOUT AJ BLOGS Another Bouncing Ball AJBlogCentral | rss Humans see, humans do: After the first horse drawn on the first cave and the first This blog continues Art To Go, pot incised with a decorative line, everything became imitation. You don't need a which I wrote as the art critic for culture weatherman to know which way that wind blows, or that in the contemporary period, the Seattle Post-Intelligencer, About Last Night beginning at the end of 2007 it blows harder. Terry Teachout on the arts in and continuing through March New York City 15, 2009. ABB is an exploration Artful Manager of art in Seattle that extends In selecting the 12 artists featured in Image Transfer: Pictures in a Remix Culture, Andrew Taylor on the outward, both geographically associate Henry curator Sara Krajewski looked for those whose engagements with business of arts & culture and by topic, touching on art, image recycling make them visual mix masters of note, those who aren't just riding politics, literature, dance and blog riley the currents but helping to steer them. whatever it is that the cat drags rock culture approximately in. Its title comes from a poem critical difference On the whole, she succeeded. Image Transfer is exactly the kind of exhibit the Henry by Delmore Schwartz, The Laura Collins-Hughes on arts, Ballad of the Children of the culture and coverage should be doing. -
Download New Glass Review 21
NewG lass The Corning Museum of Glass NewGlass Review 21 The Corning Museum of Glass Corning, New York 2000 Objects reproduced in this annual review Objekte, die in dieser jahrlich erscheinenden were chosen with the understanding Zeitschrift veroffentlicht werden, wurden unter that they were designed and made within der Voraussetzung ausgewahlt, dass sie in- the 1999 calendar year. nerhalb des Kalenderjahres 1999 entworfen und gefertigt wurden. For additional copies of New Glass Review, Zusatzliche Exemplare der New Glass please contact: Review konnen angefordert werden bei: The Corning Museum of Glass Buying Office One Corning Glass Center Corning, New York 14830-2253 Telephone: (607) 974-6479 Fax: (607) 974-7365 E-mail: [email protected] All rights reserved, 2000 Alle Rechte vorbehalten, 2000 The Corning Museum of Glass The Corning Museum of Glass Corning, New York 14830-2253 Corning, New York 14830-2253 Printed in Frechen, Germany Gedruckt in Frechen, Bundesrepublik Deutschland Standard Book Number 0-87290-147-5 ISSN: 0275-469X Library of Congress Catalog Card Number Aufgefuhrt im Katalog der Library of Congress 81-641214 unter der Nummer 81-641214 Table of Contents/In halt Page/Seite Jury Statements/Statements der Jury 4 Artists and Objects/Kunstlerlnnen und Objekte 16 1999 in Review/Ruckblick auf 1999 36 Bibliography/Bibliografie 44 A Selective Index of Proper Names and Places/ Ausgewahltes Register von Eigennamen und Orten 73 Jury Statements Here is 2000, and where is art? Hier ist das Jahr 2000, und wo ist die Kunst? Although more people believe they make art than ever before, it is a Obwohl mehr Menschen als je zuvor glauben, sie machen Kunst, "definitionless" word about which a lot of people disagree. -
Marvin Lipofsky— Sharing the Beginnings of the American Studio Glass Movement
Glasscaster with Marcie Davis Marvin Lipofsky— Sharing the Beginnings of the American Studio Glass Movement Below are excerpts from a Glasscaster interview featuring glass artist, Marvin Lipofsky. Glasscaster podcasts feature “hot glass talk in a high-tech world.” This series, hosted by Marcie Davis, can be found at www.fi reladyproductions.com or on iTunes. as there a single moment when you fell in love Wwith glass, Marvin? I donʼt know if I ever really fell in love with glass. It was just a progressive thing. Most of my graduate work was in metal and clay. Glass was just starting then. I studied under Harvey Littleton at the University of Wisconsin. My fi rst course was a ceramics class, but I was majoring in sculpture and wanted to use clay for that end. As I walked into my very fi rst class, which was Harveyʼs ceramics class, he was inviting the students to be part of the fi rst class in blowing glass at the university, which was mainly just going out to his studio at his farm one Autumn in Lʼviv Again, 1995–96 #3, day a week and blowing glass by themselves. 12" x 13-1/2" x 12" The second semester, we obtained a building near the campus, built the equipment with Harvey, and started blowing glass as an Did your own work continue to progress throughout this ex- offi cial class. Harvey gave us one demonstration—gather a little bit perience as well? of glass and blow it and do this and that. Then he said, “There it is. -
12/05/2005 Case Announcements #2, 2005-Ohio-6408.]
CASE ANNOUNCEMENTS AND ADMINISTRATIVE ACTIONS December 5, 2005 [Cite as 12/05/2005 Case Announcements #2, 2005-Ohio-6408.] MISCELLANEOUS ORDERS On December 2, 2005, the Supreme Court issued orders suspending 13,800 attorneys for noncompliance with Gov.Bar R. VI, which requires attorneys to file a Certificate of Registration and pay applicable fees on or before September 1, 2005. The text of the entry imposing the suspension is reproduced below. This is followed by a list of the attorneys who were suspended. The list includes, by county, each attorney’s Attorney Registration Number. Because an attorney suspended pursuant to Gov.Bar R. VI can be reinstated upon application, an attorney whose name appears below may have been reinstated prior to publication of this notice. Please contact the Attorney Registration Section at 614/387-9320 to determine the current status of an attorney whose name appears below. In re Attorney Registration Suspension : ORDER OF [Attorney Name] : SUSPENSION Respondent. : : [Registration Number] : Gov.Bar R. VI(1)(A) requires all attorneys admitted to the practice of law in Ohio to file a Certificate of Registration for the 2005/2007 attorney registration biennium on or before September 1, 2005. Section 6(A) establishes that an attorney who fails to file the Certificate of Registration on or before September 1, 2005, but pays within ninety days of the deadline, shall be assessed a late fee. Section 6(B) provides that an attorney who fails to file a Certificate of Registration and pay the fees either timely or within the late registration period shall be notified of noncompliance and that if the attorney fails to file evidence of compliance with Gov.Bar R. -
Press Release Embargoed Until 12:01 Am Pst, January 14, 2016
PRESS RELEASE EMBARGOED UNTIL 12:01 AM PST, JANUARY 14, 2016 Media contacts: Libby Mark or Heather Meltzer, 347-460-5566, [email protected] Julianna Verboort, 253-272-4258 x3011 or [email protected] BENAROYA COLLECTION GIFTED TO TACOMA ART MUSEUM Legacy Gift Comprises 225 Works of Studio Art Glass, Paintings, and Sculptures by Northwest and International Artists Gift Includes Funds for New Wing to be Designed by Tom Kundig, Endowment for Collection Care, and Curatorial Position Preview of the Collection to go on View in October 2016 Tacoma, WA —Tacoma Art Museum (TAM) announced today that Becky Benaroya has bequeathed the collection that she and her late husband Jack Benaroya carefully assembled during their 70 years of marriage. The collection of 225 works includes Northwestern and international studio art glass along with important paintings and sculptures by renowned regional artists. The gift, announced on Mrs. Benaroya’s 93rd birthday, includes a contribution for the construction of a new 7,390 square-foot gallery addition in which to present the collection, an endowment fund for its care, and funds for a dedicated curator. The contribution to support the gift totals nearly $14 million. TAM’s expanding collection further establishes the Pacific Northwest as the nation’s art glass epicenter. The new wing will be designed by award-winning architect Tom Kundig of Seattle-based Olson Kundig and is projected to open in fall 2018. It will house 5,700 square feet of gallery space, in addition to 1,690 square feet for public facilities and support functions. Tom Kundig successfully completed TAM’s Haub Family Galleries in November 2014.