STUDY DAYS on VENETIAN GLASS Approximately 1600'S
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La Cultura Italiana
LA CULTURA ITALIANA BALDASSARE GALUPPI (1706–1785) Thousands of English-speaking students are only familiar with this composer through a poem by Robert Browning entitled “A Toccata of Galuppi’s.” Few of these students had an inkling of who he was or had ever heard a note of his music. This is in keeping with the poem in which the toccata stands as a symbol of a vanished world. Although he was famous throughout his life and died a very rich man, soon after his death he was almost entirely forgotten until Browning resurrected his name (and memory) in his 1855 poem. He belonged to a generation of composers that included Christoph Willibald Gluck, Domenico Scarlatti, and CPE Bach, whose works were emblematic of the prevailing galant style that developed in Europe throughout the 18th century. In his early career he made a modest success in opera seria (serious opera), but from the 1740s, together with the playwright and librettist Carlo Goldoni, he became famous throughout Europe for his opera buffa (comic opera) in the new dramma giocoso (playful drama) style. To the suc- ceeding generation of composers he became known as “the father of comic opera,” although some of his mature opera seria were also widely popular. BALDASSARE GALUPPI was born on the island of Burano in the Venetian Lagoon on October 18, 1706, and from as early as age 22 was known as “Il Buranello,” a nickname which even appears in the signature on his music manuscripts, “Baldassare Galuppi, detto ‘Buranello’ (Baldassare Galuppi, called ‘Buranello’).” His father was a bar- ber, who also played the violin in theater orchestras, and is believed to have been his son’s first music teacher. -
Baldassare GALUPPI Keyboard Sonatas • 2 Matteo Napoli, Piano
572490bk Galuppi2:570034bk Hasse 24/7/11 11:55 AM Page 4 Matteo Napoli Matteo Napoli was born in Salerno and is an honours graduate of the Giordano Conservatoire (Foggia). Early in his Baldassare career he captured worldwide attention winning many competitions, including First Prize in the International Liszt Competition at Lucca (Italy) in 1986. He has performed in Europe, as well as in New York, Mexico City, São Paolo, Japan, Australia, China and Malaysia. As a soloist, he has appeared with a number of orchestras, including the GALUPPI Orchestra da Camera di Firenze, Brasov Philharmonic, Ofunam Philharmonic Orchestra, Tirana Opera House, Cyprus Chamber Orchestra, NSO of Malaysia, and, in New Zealand, the Manukau Symphony Orchestra and Auckland Philharmonia Orchestra. In Auckland (2003) he gave the first modern performance of the Piano Concerto No. 6 by Keyboard Sonatas • 2 Ferdinand Ries, with Uwe Grodd as conductor, followed by the European première in Romania and a further performance with the NSO of Malaysia (2004). He is now based in Auckland, New Zealand. www.matteonapoli.com Matteo Napoli, Piano C M Y K 8.572490 4 572490bk Galuppi2:570034bk Hasse 24/7/11 11:55 AM Page 2 Baldassare Galuppi (1706–1785) listing of 1909, with Nos. 29 to 32 following the listing of Scarlatti and the sonata ends with an Allegro assai in triple Keyboard Sonatas • 2 Charles van den Borren of 1923. Illy records Nos. 36 to time with characteristic opening figuration. 41, the sonatas of the Passatempo al cembalo, as having The Sonata in C major, Illy 27, opens with an Andante, Known as Il Buranello, from Burano, his place of birth, Dublin and of the second, Galuppi’s Penelope, he quotes been mentioned by Ezra Pound’s mistress, the American its melody presented in the right hand against an Alberti Baldassare Galuppi played a leading part in the develop- a certain nobleman: Il faut que je dise avec Harlequin, violinist Olga Rudge, in an Accademia Chigiana pub- accompaniment. -
Laminated Glass Insulating Glass Fire Rated Glass Burglar Resistant Glass Sound Protection Glass Decorative Glass Curved Glass
Envelopes in Architecture (A4113) Designing holistic envelopes for contemporary buildings Silvia Prandelli, Werner Sobek New York A4113 ENVELOPES IN ARCHITECTURE - FALL 2016 Supply chain for holistic facades 2 Systems Door systems Media Facades Rainscreen facades Dynamic facades Mesh System Structural glass/Cable Glass floors Multiple skins Shading systems Green facades Panelized systems Stick/Unitized systems 3 Curtain wall facades 4 What are the components of a façade system? 5 What are the components of a façade system? 6 What are the components of a façade system? 7 Glass 8 Glass Types Base Glass (float glass) Heat Treated Glass Laminated Glass Insulating Glass Fire Rated Glass Burglar Resistant Glass Sound Protection Glass Decorative Glass Curved Glass 9 Base Glass (Float Glass) 10 3500 BC Glass Making: Man-made glass objects, mainly non-transparent glass beads, finds in Egypt and Eastern Mesopotamia 1500 BC Early hollow glass production: Evidence of the origins of the hollow glass industry, finds in Egypt 11 27 BC - 14 AD Glass Blowing: Discovery of glassblowing, attributed to Syrian craftsmen from the Sidon- Babylon area. > The blowing process has changed very little since then. 12 Flat Glass Blown sheet 13 15th century Lead Crystal Glass: During the 15th century in Venice, the first clear glass called cristallo was invented. In 1675, glassmaker George Ravenscroft invented lead crystal glass by adding lead oxide to Venetian glass. 14 16th century Sheet Glass: Larger sheets of glass were made by blowing large cylinders which were cut open and flattened, then cut into panes 19th century Sheet Glass: The first advances in automating glass manufacturing were patented in 1848 by Henry Bessemer, an English engineer. -
Glassblowers of Venice Kept Their Art So Secret That It Almost Died out by Associated Press, Adapted by Newsela Staff on 02.11.16 Word Count 620
Glassblowers of Venice kept their art so secret that it almost died out By Associated Press, adapted by Newsela staff on 02.11.16 Word Count 620 Glassblower William Gudenrath puts enamel on a bowl with techniques used by Renaissance Venetians at the Corning Museum of Glass in Corning, New York, Jan. 22, 2016. Gudenrath spent decades researching how Renaissance glassmakers produced objects that are now considered works of art. Photo: AP/Mike Groll ALBANY, N.Y. — A modern-day glassblower believes he has unraveled the mysteries of Venetian glassmaking that was crafted during the Renaissance. The Renaissance was a cultural movement in Europe that lasted from the 1300s to the 1600s. During that period, glassmakers' secrets were closely guarded by the Venetian government. Anyone who spoke of them could be killed. Specially Skilled Craftsmen Today's glassblowers work with gas-fired furnaces and electric-powered ovens called kilns. Their studios are well lit and have proper air ventilation. The craftsmen of Murano, an island near Venice, Italy, did not have such technology. Yet they turned out pieces of art popular in museums today. The techniques, or the methods they used to make the objects, remained sought after for centuries. William Gudenrath spent years studying Venetian glass collections at American and European museums. He compared them with newer glasswork from Venice. He experimented on his own and traveled to Italy many times. Gudenrath combined all of his knowledge to produce an online guide. Guiding Modern Artists The guide is called "The Techniques of Renaissance Venetian Glassworking." It was recently posted on the website of the Corning Museum of Glass in New York. -
Opera Olimpiade
OPERA OLIMPIADE Pietro Metastasio’s L’Olimpiade, presented in concert with music penned by sixteen of the Olympian composers of the 18th century VENICE BAROQUE ORCHESTRA Andrea Marcon, conductor Romina Basso Megacle Franziska Gottwald Licida Karina Gauvin Argene Ruth Rosique Aristea Carlo Allemano Clistene Nicholas Spanos Aminta Semi-staged by Nicolas Musin SUMMARY Although the Olympic games are indelibly linked with Greece, Italy was progenitor of the Olympic operas, spawning a musical legacy that continues to resound in opera houses and concert halls today. Soon after 1733, when the great Roman poet Pietro Metastasio witnessed the premiere of his libretto L’Olimpiade in Vienna, a procession of more than 50 composers began to set to music this tale of friendship, loyalty and passion. In the course of the 18th century, theaters across Europe commissioned operas from the Olympian composers of the day, and performances were acclaimed in the royal courts and public opera houses from Rome to Moscow, from Prague to London. Pieto Metastasio In counterpoint to the 2012 Olympic games, Opera Olimpiade has been created to explore and celebrate the diversity of musical expression inspired by this story of the ancient games. Research in Europe and the United States yielded L’Olimpiade manuscripts by many composers, providing the opportunity to extract the finest arias and present Metastasio’s drama through an array of great musical minds of the century. Andrea Marcon will conduct the Venice Baroque Orchestra and a cast of six virtuosi singers—dare we say of Olympic quality—in concert performances of the complete libretto, a succession of 25 spectacular arias and choruses set to music by 16 Title page of David Perez’s L’Olimpiade, premiered in Lisbon in 1753 composers: Caldara, Vivaldi, Pergolesi, Leo, Galuppi, Perez, Hasse, Traetta, Jommelli, Piccinni, Gassmann, Mysliveek, Sarti, Cherubini, Cimarosa, and Paisiello. -
Bullseye Glass Catalog
CATALOG BULLSEYE GLASS For Art and Architecture IMPOSSIBLE THINGS The best distinction between art and craft • A quilt of color onto which children have that I’ve ever heard came from artist John “stitched” their stories of plants and Torreano at a panel discussion I attended a animals (page 5) few years ago: • A 500-year-old street in Spain that “Craft is what we know; art is what we don’t suddenly disappears and then reappears know. Craft is knowledge; art is mystery.” in a gallery in Portland, Oregon (page 10) (Or something like that—John was talking • The infinite stories of seamstresses faster than I could write). preserved in cast-glass ghosts (page 25) The craft of glass involves a lifetime of • A tapestry of crystalline glass particles learning, but the stories that arise from that floating in space, as ethereal as the craft are what propel us into the unknown. shadows it casts (page 28) At Bullseye, the unknown and oftentimes • A magic carpet of millions of particles of alchemical aspects of glass continually push crushed glass with the artists footprints us into new territory: to powders, to strikers, fired into eternity (page 31) to reactive glasses, to developing methods • A gravity-defying vortex of glass finding like the vitrigraph and flow techniques. its way across the Pacific Ocean to Similarly, we're drawn to artists who captivate Emerge jurors (and land on the tell their stories in glass based on their cover of this catalog) exceptional skills, but even more on their We hope this catalog does more than point boundless imaginations. -
The Influence of Lino Tagliapietra
FOR IMMEDIATE RELEASE CONTEMPORARY GLASS AT INAUGURAL SILICON VALLEY ART FAIR: THE INFLUENCE OF LINO TAGLIAPIETRA Media Inquiries: Thursday, April 10-Sunday, April 13, 2014 at Silicon Valley Contemporary Art Fair Kristin Carlson McEnery Convention Center in San Jose, California | Schantz Galleries Booth #410 Think All Day 505-501-2497 [email protected] SAN JOSE, CA—Schantz Galleries (Stockbridge, Massachusetts) is pleased to present new work by five top contemporary glass artists at the first annual Silicon Valley Contemporary Art Fair, April 10-13, 2014, Booth #410, McEnery Convention Center in San Jose, California. The work of Lino Tagliapietra, Dante Marioni, John Kiley, David Walters, and Giles Bettison demonstrates that the intersection between technology and art precedes the digital age; cutting-edge science and innovative expression have long been synthesized in the discipline of glassmaking. Each of these artists has mastered and pushed the boundaries of traditional techniques, and achieved important advances in this time-honored art form. Italian glass maestro Lino Tagliapietra is acknowledged worldwide as one of the most influential glassmakers of our time; the other four artists in this exhibition have each studied and worked with Tagliapietra, and the broad scope of his influence in the field of glass art is evident in the far-reaching facets of their careers. Lino Tagliapietra, Africa, 2013, blown glass, 10.25 x 19.25 x 19.25.” Photo by Russell Johnson. LINO TAGLIAPIETRA: MAESTRO. Celebrating his 80th birthday this year, Lino Tagliapietra is one of the world’s most accomplished artists working with glass today. Tagliapietra has been an independent glass artist since 1989, exhibiting in museums internationally, receiving countless honors, openly sharing his extensive knowledge of the medium and his skill as one of its finest practitioners, and helping to create a new renaissance in studio glassmaking. -
XIX Century Murano Glass Tableware Kindle
GLASS FOR THE TABLE : XIX CENTURY MURANO GLASS TABLEWARE PDF, EPUB, EBOOK Andrea Morucchio | 51 pages | 01 Jan 2000 | Arsenale | 9788877432131 | English, Italian | San Giovanni Lupatoto, United States Glass for the Table : XIX Century Murano Glass Tableware PDF Book Sort By:. Item Location see all. Fusing The process of founding or melting the batch. Heating pieces of glass in a kiln or furnace until they bond. The unofficial capital of glassmaking is perhaps known best for their dazzling chandeliers and opulent vases, which add a pop of color and sophistication to any room. Mentioned for accuracy Sign In Register. Cart 0. Originally established in in Pittsburgh , the first city to use coal for fuel in glassmaking, the company survived under several different firms until Much modern glass must be heated to about 2, degrees Farenheit, followed by a maturing period when the molten glass cools to a working temperature of about 2, degrees Farenheit. For a downloadable PDF, click here 27 pages. Since childhood he has shown great interest in art. Attributed to Salviati Dott. After annealing, the disk is cut into panes. In the master suite of a Long Island home, a motorized cabinet containing a Samsung television stands at the foot of the bed. Result is a polychrome design that is visible only when seen in cross section. So called because one surviving example is said to have belonged to Saint Hedwig of Silesia. Made by inflating a large gather, swinging it until it forms a cylinder, detaching it from the blowpipe, cutting it lengthwise, reheating it, and allowing it to slump to the form of a flat sheet. -
The Cult of Saint Jerome in Dalmatia in The
Ines Ivić THE CULT OF SAINT JEROME IN DALMATIA IN THE FIFTEENTH AND THE SIXTEENTH CENTURIES MA Thesis in Medieval Studies Central European University CEU eTD Collection Budapest May 2016 THE CULT OF SAINT JEROME IN DALMATIA IN THE FIFTEENTH AND THE SIXTEENTH CENTURIES by Ines Ivić (Croatia) Thesis submitted to the Department of Medieval Studies, Central European University, Budapest, in partial fulfillment of the requirements of the Master of Arts degree in Medieval Studies. Accepted in conformance with the standards of the CEU. ____________________________________________ Chair, Examination Committee ____________________________________________ Thesis Supervisor ____________________________________________ Examiner CEU eTD Collection ____________________________________________ Examiner Budapest May 2016 THE CULT OF SAINT JEROME IN DALMATIA IN THE FIFTEENTH AND THE SIXTEENTH CENTURIES by Ines Ivić (Croatia) Thesis submitted to the Department of Medieval Studies, Central European University, Budapest, in partial fulfillment of the requirements of the Master of Arts degree in Medieval Studies. Accepted in conformance with the standards of the CEU. ____________________________________________ External Reader CEU eTD Collection Budapest May 2016 THE CULT OF SAINT JEROME IN DALMATIA IN THE FIFTEENTH AND THE SIXTEENTH CENTURIES by Ines Ivić (Croatia) Thesis submitted to the Department of Medieval Studies, Central European University, Budapest, in partial fulfillment of the requirements of the Master of Arts degree in Medieval Studies. Accepted in conformance with the standards of the CEU. ____________________________________________ External Supervisor CEU eTD Collection Budapest May 2016 I, the undersigned, Ines Ivić, candidate for the MA degree in Medieval Studies, declare herewith that the present thesis is exclusively my own work, based on my research and only such external information as properly credited in notes and bibliography. -
Colour, Form and Light Fun: Artistic Glass in Architecture
ALINA BUDZYńSKA* COLOUR, FORM AND LIGHT FUN: ARTISTIC GLASS IN ARCHITECTURE FORMA, KOLOR A zabawy światłem CZYLI SZKŁO ARTYSTYCZNE W ARCHITEKTURZE A b s t r a c t Art glass has a privileged position in the architectural space. This is due to its basic property of transparency, and its close relationship with light as a factor which deter- mines form, texture and colour. Therefore playing with architectural glass in archi- tecture is related to the most fundamental matters. This article presents several issues related to the effect of art glass on the architectural space. Each of the façade glass examples has been made using a different technique. Keywords: art glass, glass façade S t r e s z c z e n i e Użycie szkła artystycznego bywa pretekstem do różnorakich gier i zabaw w przestrze- ni architektonicznej. W artykule przytoczono kilka przykładów budowania przegro- dy szklanej przy zastosowaniu różnych technik monolitycznego szkła artystycznego. Każda z realizacji stanowi swoisty przykład możliwości estetycznych i kompozycyj- nych szkła w powiązaniu z funkcją w przestrzeni. Słowa kluczowe: szkło artystyczne, fasada szklana * M.Sc. Arch., M.Sc. art., Alina Budzyńska, Department of Drawing, Painting and Sculpture, Faculty of Architecture, Technical University of Wroclaw. 65 Fun is fundamental to the creative process. The pleasure that one takes in creation, the freedom and unpredictability of the result lead to freeing the creativity of the artist. When having fun, we are more willing to experiment and find it easier to tackle difficult tasks. We are more open to applying original solutions which we would normally feel were impractica- ble, and which could well prove to be the best solutions once the technical details have been fine-tuned. -
The Corning Museum of Glass Annual Report, 2006
The Corning Museum of Glass Annual Report 2006 Cover: Officers The Fellows of The Corning The Fellows of The Corning Museum of Glass Museum of Glass are among Peacock vase, blown; E. Marie McKee the world’s leading glass col- silver-gilt mount. U.S., President Carole Allaire lectors, scholars, dealers, and Corona, NY, Tiffany Gary E. Baker glassmakers. The objectives Amory Houghton Jr. Studios, 1898–1899. Renée E. Belfer of this organization are (1) Vice President H. 14.1 cm (2006.4.161). Robert A. Belfer to disseminate knowledge James R. Houghton Mike Belkin about the history and art of Vice President William W. Boeschenstein* glassmaking and (2) to sup- port the acquisitions program Alan L. Cameros Denise A. Hauselt of the Museum’s Rakow Secretary Lt. Gen. Christian Clausen, retired Research Library. Admission Thomas P. Dimitroff to the fellowship is intended James B. Flaws Jay R. Doros to recognize accomplishment, Treasurer David Dowler and is by invitation. Robert J. Grassi Max Erlacher Assistant Treasurer Christopher T. G. Fish Barbara U. Giesicke David B. Whitehouse William Gudenrath Executive Director Jirˇí Harcuba+ Douglas Heller Trustees A. C. Hubbard Jr. Roger G. Ackerman* Kenneth L. Jobe + Peter S. Aldridge Dorothy-Lee Jones Thomas S. Buechner Leo Kaplan Van C. Campbell* Helena Koenigsmarková + Dale Chihuly Michael Kovacek Patricia T. Dann Dwight P. Lanmon + Robert Duke Harvey K. Littleton James B. Flaws Louise Luther John P. Fox Jr. Kenneth W. Lyon Polly W. Guth Josef Marcolin Ben W. Heineman* John H. Martin + Amory Houghton Jr.* Gregory A. Merkel Arthur A. Houghton III Barbara H. -
Koper-Mestni-Nacrt.Pdf
→ A B C D E F G H 6, 7, 8 Bason LUKA KOPER Vergerijev trg 1 Ribiški trg Nazorjev Občina trg Muzejski trg Župnijski Sv. Ana Ukmarjev urad Destradijev trg 11 trg PEF, FM 8 Carinarnica Titov trg Stolnica 5 Pristaniška a v Gimnazija Intereuropa e Sv. Marta kapitanija ij Trg Dvorana sv. Carpacciov r o t Brolo Frančiška trg n a S SEPŠ Koper Mejna pot Sv. Jakob Avtocommerce RTV 9 5,6 3 Slovenija Gramšijev trg 1 Tomažičev trg Hlavatyjev Poslovni objekt park Barka It. os. šola Staničev 12 in gimnazija ŽUSTERNA trg Porsche 2 Aquapark 1, Slovenija GIUSTERNA ZALIV SEMEDELA Kosovelov 6 5 trg 13 GOLFO DI SEMEDELLA 10 Prešernov Kamionski terminal Naravni rezervat Škocjanski zatok 2 trg Riserva naturale val Stagnon Zeleni park Sv. Basa Sodišče Osnovna šola OBI A. Ukmar Spar AJPES MARKOVEC Solis Park center MONTE SAN MARCO Olimpijski športni 4 Koper center Koper - Bonifika Arena 1 Mejak Bonifika Poslovni Eurospin Hofer objekt Ogrlica Zapori BONIFIKA Osnovna šola Koper Dipo Harvey Scula elementare Norman Capodistria Stadion ŠKOCJANSKI ZATOK BONIFICA , 2 Mercator 2 Lidl 1 VAL STAGNON Sv. Marija Adriac Božič Slovenica Olimpijski športni Lesnina center Koper - Bonifika Nokturno Supernova 2 3 P+R Atletski stadion P+R Plezalni Planet Telekom center Koper P+R Trgo ABC Gasilska Veterinarski Jurada brigada Spar zavod Sv. Marko a c i Osnovna šola v D. Bordona e Tuš š 1, 2, 2A Scula elementare 1 a Gokart D. Bordon d a Markov hrib Mondo B P+R ► 223 SEMEDELA Radio Elektro Capris Škrt SEMEDELLA Koper Pri baronesi 4 Prodan Rižanski Škocjanski hrib Vatovec vodovod ► Barban