Analysis Of Rene Culler 's The Glass

Edward Linenthal, an expert in religion and American history, offers examples of such elements, like how “Slanted glass…[was used] in exhibit cases to draw visitors in…” and that “…walls were not painted, pipes were left exposed…” (Linenthal 170). Everything about the design was intentional; both the industrial aesthetic and the slanted glass help set the stage for the heart wrenching narrative of how a broken country allowed millions to be slaughtered, creating a vessel which serves to preserve and educate viewers about what

In the Article, “Sophia Nuske Ceramics Make You question everyday objects,” the ceramic artist Nuske is discussed and her recent works are introduced. Nuske takes common, everyday objects that most people would not bother focusing their attentions on, and creates jarring replicas that will have viewers stop and stare to take in the odd arrangement. The common objects, such as an ordinary wooden pencil, are altered in appearance by bending them in unnatural shapes and giving them unusual colors. The objects were set up in a gallery, where they were placed in situations that they would normally be found in (e.g. pencils on a desk or similar flat surface). She has won several awards for her work.

Tiffany will endlessly be remembered as the individual who changed the art of glassmaking. Revolutionizing the production of stained glass windows and luminaires, he was experimented with adding color and texture, as well as using imperfect glass for his pieces. (“Louis Comfort Tiffany,” 2016). Taking over the Art Nouveau era and pioneering the “[push of] artistic boundaries,” it is justifiable that Louis Tiffany is one of greatest artists of his time, and perhaps of all time. (Daniels,

The sculptress Louise Nevelson was a towering figure of American modernism. Born in 1899, she came to prominence in the late ‘50s, gaining renown for monochromatic structures built out of discarded wood. Critic Arthur C. Danto wrote, “There could be no better word for how Nevelson composed her work than bricolage—a French term that means making do with what is at hand.” (Danto 2007) Her pieces evolved and expanded in size across the latter 20th century, moving from smaller pieces to wall-sized ones, and the plays of volume therein, between light and mass, generated comparisons to numerous different movements.

With all of Chihuly’s abilities, and talents it is difficult to put him in one category as an artist, nonetheless, he happens to be best known for his contemporary glass art. His rise to recognition wasn’t given, however, it was earned. He went to college for numerous years studying interior design, glass blowing, fine arts & sculpture. He taught, therefore, he could support himself while perfecting his craft, and making a name for himself. Some of the challenges he faced in his path to success, as a rule, would have prevented the majority from ever reaching out for their goals, on the contrary, Chihuly figured out ways to still become successful in spite of them. After the loss of his brother in a Navy training exercise, a year later his father passed away of a major heart attack, in 1976 he lost his eye and depth perception, he continued blowing glass all while battling depression and bipolar disorder. After his surfing accident in 1979, and the dislocation of his shoulder, he teamed up with other artisans which led to new ideas, and collaborations. Chihuly directed the pieces although, he allowed the artisans to have creative freedoms too.

Among the numerous artists producing figures in glazed earthenware Harry Parr stands out a master craftsman, artistically accomplished, for not only are his figures exquisitely and subtly modelled, but they are modelled with the craft of the potter for the niceties of the mould– a vitally important factor, and their glazing and colouring are the result, not of haphazard experiment, but of the conclusions of a life-long experience.

Theorizing on these opposing visions has exhausted rivers of ink – or maybe, today, gigabytes of electronic files – without reaching a valuable synthesis. Emiliano Céliz's silver vases are a true testimony of this.

While many may picture a ‘traditional’ artist as one who creates using canvas and paint, Turrell’s ability to utilise pure light as a tool has certainly established him as one of the most unique contemporary artists. While his earliest works were sculptures from fire, he quickly found a niche home in the creation of projections “that produced illusionist geometric shapes.” Shanta, Afrum (white) 1996 and Raemar Pink White (1969) are all example of Turrell’s work with hovering, shifting shapes and his work with perception.

Formal Analysis of a Lustre Jug Dated to 1185, the lustre jug is made of glazed terracotta by an unknown artist. Despite its age, the jug is remarkably whole, missing only a small fragment on its rim. In order to view all its designs, viewers would have to observe the jug from multiple angles. This essay will analyse how the artist used lines, shape, and colour to explore the dichotomy of containment and stasis in contrast to energy and movement.

From a church to a person’s home, there is stained glass all around us. Most people take a look at stained glass and just admire the beauty, but not the work that goes into it. The intense planning and preparations in deciding what to make and how to put it all together. Not until recently, there has been no real equation for stained glass, but that has changed. People can now use formulas and equations to take a part a piece of work. All over the world stained glass is known. There is much more to stained glass than just what meets the eyes of the people who see it.

From the neoclassical which was a form of capturing the human form and shaped how we today have a more realistic perspective on the human form. Additionally, from capturing the human form in sculptures, came the rise of portraits in art from painting, sculpting and even photography. “The practice of creating a portrait to honor an individual carries on to the present day” ("Classical Connections”). Following the Neoclassical art movement and the influence of Greek art in modern times came the influence of working with glass. For example, the “knobbed Warzenglas, or "wart glass," is a 17th-century example of mold-formed glass” (“Classical Connections”), which is still being practice in today’s everyday glasses that we may purchase a

Seduced by its technology and scientific acumen, contemporary culture has begun to believe that magic can work. That was C.S. Lewis’ criticism of the ideological materialism often found in science (The Abolition of Man, 1943)—“scientism” as the magician’s twin. The view, itself, is neither scientific nor provable, but it has fostered the widespread belief that reality is something that people can make-up as they go along. Reality is simply that fluid; all it takes is the right incantation (or technology) to get things to flow the way one wants.

History has been kind to people when it comes to listing some sorcerers and episodes said to have truly materialized, establishing the frisky concept that sorcery, witchcraft and magic is a true occurrence. Decades of belief and these stories might be the populace's ticket to enter this portal full of wondrous things that only sheer magic and miracle can offer. Listed below are some of the world-renowned icons and happenings that explains why the current civilization should not discount the force of mystery in any way possible.

It was Nell Vyse’s opinion that in such uncertain times that no one could remain sane without using a liberal amount of imagination, only a few of us can materialise our fantasies. The Vyses, ever optimistic, exhibited one hundred and sixty pieces of stoneware pottery. Nell Vyse had the difficult task of teaming Art with Science, to produce extravagant and delicate glazes in a variety of hues. It was the Vyses’ complete control of the atmosphere within the kiln chamber produced such subtle glazes as the blues and purples Chüns, the varied greens of the Celadon. Without such precise control, potters in rare and happy accidents produce such glazes. No photograph, however detailed, can illustrate the rosy-purples that suffused the delicate blue Chün glazes (Fig. 149 p.186). Acceding to popular demand, the Vyses introduced two new figurative works, which collectors could approve from monochrome photographs of the original clay maquettes, published in Walker’s Monthly.

This essay will show why interest in the occult manifested in the Victorian Era and the ways in which it did. The word ‘occult’ is defined in the Oxford English Dictionary as; ‘Not apprehended, or not apprehensible, by the mind; beyond ordinary understanding or knowledge; abstruse, mysterious; inexplicable.’ And it is with this definition that we will gain an understanding of the Victorians interest in occultism, and the very different ways in which these interests were shared by female spiritualists, as well as those whom had been left spiritually bereft by the work of Charles Darwin, and the scientific thinkers of the day who believed that their work was for the greater good of humanity.