Treasures: Galle vase? This lacks glass artist’s mastery
Or, he or she can place the hot glass on a metal table called a marver to shape the form by rolling it back and forth. Watching an expert glassblower is an exciting experience. The artist moves as quickly and as gracefully as a dancer. A 1982 work by Dale Chihuly at the Smithsonian American Art Museum in Washington BARBARA KLEIN: In thirteenth century Italy, the government ordered glassblowers in Venice to move to the island of Murano. The aim was to reduce the threat of fires from the glassmakers furnaces. It was also useful for the glassmakers to be together so that they could control the secrets of their trade.
For the first time, a sizable number of artists are working in glass in Japan. Americans Dominate Show Last year the two National Museums of Modern Art in Tokyo and Kyoto put on a first exhibition here of contemporary art works in glass, gathering 551 pieces by 86 artists from Europe and Japan. The scope of the latest exhibition – with 158 pieces from Australia, Canada, the United States and Japan – is far wider. Inevitably, the Americans, with their great experience and advanced technology, dominate the show. The lavishly illustrated 158-page catalogue, with color plates throughout and photos of the artists with biographical notes, carries on the front cover a work by California-based Michael E.
Russian art, glass art exhibits; St. George Art Museum
Zecchin opposed the decoration of glass. As Mr. Ricke writes: ”Venini’s fundamental decision, which proved extremely hard to impose on the island’s proud master craftsmen, was undoubtedly the renunciation of all those decorative curlicues and filigree-glass fripperies.” Venini and Zecchin persuaded the blowers to produce vessels with the clean lines and the classic proportions of Renaissance and ancient Roman glass. Instead of pastels, Zecchin chose sober, monochromatic hues. These vessels, far from being delicate, had solidity and monumentality. It did not take long for the work to gain popularity, beginning an in 1923 at the first International Exhibition of Decorative Arts at Monza, Italy. Artists often designed for different houses.
2013 Glass Art Society conference in Boston canceled
3, the Seattle-based organization of 2,400 artists, students, collectors, and gallery owners in 54 countries canceled its 2013 conference, scheduled for Boston in June. Wait till next year, members were told. What happened, organizers say, was a combination of permit problems, logistical issues, escalating costs, and one gigantic puzzle piece: where to park a 28-foot-long, 17-ton, glass-melting furnace strapped to the back of a tractor-trailer. Capable of reaching temperatures of 2,100 degrees, this hot shop unit requires a 60-hour fire-up period plus a 60-hour cool-down, copious amounts of electricity and natural gas (piped in from city gas lines or propane tanks), and plenty of adjacent space. Its used to demonstrate glass-sculpting techniques for large audiences, often hundreds of onlookers at a time. It is, in short, a piece of convention equipment conspicuously more cumbersome, and potentially more dangerous, than your basic helium-balloon station or banquet ice sculpture.
ART: THE NEW JAPANESE FASCINATION WITH GLASS
This is called “acid cutback.” The name “cameo glass” comes from cameo jewelry, which is made by carving through the different-colored layers of a shell or, in some cases, stone (such as agate) to create a decorative image in relief. This technique has been known and utilized since ancient times. But in the late 19th century, this idea was applied to making glass in such places as France, Bohemia, England and the United States. Emile Galle was born in 1846 in Nancy, France, to a maker of faience pottery and furniture. Right after the end of the Franco-Prussian War (1870-71), the well-educated and artistically talented Galle came to work in his father’s factory, where he excelled at making glass. He started getting recognition for his work when it was praised at the Paris Exposition of 1878, and by the Paris Exposition of 1889, his work had achieved international fame. Galle was a leading proponent of the French Art Nouveau movement, and his pieces tended to feature naturalistic themes and sensuously curving lines like those found in nature.
ANTIQUES; The Art Glass Of Murano, Modern Style
George Art Museum, other participating museums in Utah include the Ogden Treehouse Childrens Museum, the Heritage Museum in Orem, the CEUs Prehistoric Museum in Price, the Fort Douglas Military Museum and Utah Museum of Fine Arts in Salt Lake City. The St. George Art Museum is open Monday-Saturday 10 a.m.-5 p.m. at 47 East 200 North in St. George. The city-owned and operated facility exists to educate through quality exhibitions from all periods, cultures and media and to collect, conserve, inventory, exhibit and interpret art and artifacts from Utah and the West. For more information, the museum can be reached at 435-627-4525.