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. 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Written in the style of an extraordinary yarn, this book is not so much about Mount's achievements as a glass artist as about the elements that have shaped his career and .... Australian Glass Today , Margot Osborne, Oct 3, 2006, Art, 154 pages. This survey of contemporary glass artists in Australia showcases the latest trends in art glass by displaying the work of 45 established and emerging artists. This beautifully .... Isabel de ObaldГ•a New Work, 2004 : [exhibition] October 27-November 20, 2004, Isabel de ObaldГ•a, Jan 1, 2004, Art, 16 pages. But the ''Particle Theories'' exhibition examines the process of cast, not blown glass, offering stunning treats. Organized by Susanne K. Frantz, former curator of 20th-century glass at the Corning Museum of Glass, the exhibition presents 19 turn-of-the-20th-century French pieces and 119 objects by 56 contemporary artists. Because p? de verre (paste of glass) has been used to describe a variety of molded glass, it explains the show's inclusive but rather off-putting title. In the accompanying catalog, Ms. Frantz acknowledges that ''there has never been a single, absolute definition of p? de verre.'' She defines it as ''premelted glass reduced to a granular consistency, placed in a refractory mold, fired in a kiln until fused or melted, cooled and annealed, and then freed from the mold.'' Although p? de verre probably dates to ancient times, Henry Cros, a French sculptor, revived the technique and adopted the term in 1883. His ''Mask (La Flamme),'' which dates to 1900 and is one of the oldest works in the exhibition, has an unpolished, textured surface that is delicately colored to suggest polychrome sculptures of antiquity. In 1968, Daum Fr?s, a company known for its early 20th-century art glass, reintroduced p? de verre production using designs commissioned from contemporary artists. On several occasions, Dan Dailey teamed up with the French company to create impressive pieces, like ''Le Vent,'' a translucent reclining female nude reminiscent of a streamlined Art Deco form. During the Studio Glass Movement of the 1970's, an interest in p? de verre was rekindled, because it required inexpensive equipment and less space than a hot glass studio. ''Raspberry Vase,'' by Kimiake Higuchi, is one of the more functional objects on display. An exquisitely colored contemporary vessel, it has a base in deep blue that fades into warm orange at the lip. Detailed leaves, a spider web and berries (cast from life) provide a relief surface of bountiful decoration inspired by Art Nouveau glass. The beautiful thin-walled bowls by Momoo Omuro are more diminutive and demonstrate the artist's virtuosity and patience. Created in 2004, they have geometric surface designs that recall not only 1950's modernism but also objects by Diana Hobson, one of the seminal figures in the international revival of p? de verre. By contrast, Nicolas Africano's ''Untitled (Girl Sitting on a Globe),'' one of the newest works, is a pure figurative sculpture. Though the dark opaque coloring underscores its emotive content, the figure looks more like a soapstone carving than cast glass. Many artists have used the granulated effect of this glassmaking process to maximum advantage. For example, Deborah Horrell's ''Still Life -- Lineage of White'' is an arrangement of 12 forms combining p? de verre and carved alabaster, yet the coloration and crystalline texture offer a nearly seamless unity of glass and stone. Sylvie Vandenhoucke's ''Raw Target'' is one of five large installations in the gallery of the museum lobby. The sculpture is composed of numerous irregularly shaped parts set in concentric circles. Her brown glass pieces and their white grainy exteriors suggest rich chocolate dusted with powdered sugar, a possible autobiographic reference by an artist from Belgium. P? de verre can make for delicious eye candy. Photos: ''Bowl'' (2004), left, by Momoo Omuro; ''Still Life -- Lineage of White'' (2002), far left, by Deborah Horrell; ''Mask (La Flamme)'' (1900), top left, by Henry Cros; ''Raw Target'' (2004), center, by Sylvie Vandenhoucke; and ''Raspberry Vase'' (2001), above, by Kimiake Higuchi are all in ''Particle Theories.'' The Museum of American Glass at Wheaton Village presents, “Particle Theories: International Pâte de Verre and Other Cast Glass Granulations,― April 2 to December 31, a major exhibition featuring historic and contemporary art glass created through a technique that is called “pâte de verre― (“paste of glass―). Over 140 pieces will be on display. Most glass-related exhibitions are so broad that they become mere displays. But “Particle Theories― takes an important step in advancing the critical study of contemporary glass art by focusing on one very specific technique, pâte de verre that has a rich history and has exerted an enormous influence on contemporary glass art throughout the world. Guest Curator, Susanne Frantz, former curator of 20th Century Glass at the Corning Museum of Glass, has selected a group of international artists who exploit the pâte de verre technique in traditional ways, as well as through a number of exciting variations. To establish the historic background, a choice group of objects created at the turn of the 20th century will be on display. Pieces that highlight the diversity and brilliance of these early achievements will include a plaque by Henry Cros, a rare pendant by René Lalique, realistic figures by Georges Despret and Amalric Walter, and sculptural vessels by Gabriel Argy-Rousseau, Jules-Paul Brateau, Albert Dammouse, and Décorchemont. There will be a fully illustrated catalog accompanying the exhibition. One of the world’s foremost authorities on the history of pâte de verre, Jean-Luc Olivié, Curator of Glass at the Musée des Arts Décoratifs, the Louvre, Paris, will write an introductory essay that offers previously unpublished research on the topic. Guest Curator, Susanne Frantz, will write about the artists in the exhibit and the modern developments in pâte de verre. The origins of pâte de verre are unknown, but the term was invented at the end of the 19th century by the French sculptor, Henry Cros (1840-1907). In experiments at the Manufacture National de Sèvres, Cros and a handful of contemporaries “rediscovered― the technique that may date back to the Egyptian 18th dynasty. It was lost for centuries (with a brief interlude in 18th century England for the recreation of antique carved cameos) until the 1880s, when it was again studied and refined by the small circle of French artists and craftsmen. Cros had been working with tinted wax and marble, but he was looking for a material in which to create permanent polychrome sculpture. He sought a medium that could also recreate the subtle coloration and light transmitting qualities of living flesh at a time. Other French artists were fascinated by the ability of cast glass to imitate porcelain and semi-precious stones through modeling. To make pâte de verre, glass is ground to a consistency ranging from a fine powder to a sugary grit.