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Fire and Ice: Le Verre Magique, Le Vrai Magique

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Part of the Analecta Husserliana book series (ANHU, volume 63)

Abstract

In the last three years, art glass has been the hottest item in fine art sales galleries.3 The fluidity of the medium, the reflective and refractive properties, the potential for color saturation, the fragility of the material, have all inspired American artists to experiment with glass. Fascinated by working with a material not part of the average art-school curriculum, they have applied the aesthetics of sculpture and techniques from the familiar areas of ceramics and weaving to their newly-learned glass-making Although they have achieved a variety of interesting and entertaining effects, these do not fully reveal the nature of glass and its making.

Keywords

Color Saturation Artistic Experience Refractive Property Familiar Area Flaming Heat 
These keywords were added by machine and not by the authors. This process is experimental and the keywords may be updated as the learning algorithm improves.

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Notes

  1. 1.
    The following essay is the result of my ruminations after writing the art criticism for a book on Jean-Claude Novaro, a contemporary glass-artist from the south of France (Novaro, Scottsdale: American Fine Art Editions, 1996 ).Google Scholar
  2. 2.
    As cited by Astone Gasparetto, “Glass,” 7, vol. 6, London: McGraw Hill, 1962, col. 367–92.Google Scholar
  3. 3.
    See for example, Matthew Kangas, “Glass Art,” ARTnews, vol. 94/1 (January 1994), pp. 48–67. Five other articles have appeared in ARTnews since 1995, including a review of Penny Richards’ new renovation of the Glass Gallery at the Victoria and Albert Museum (Sarah Greenberg, “Glass Acts and the V, and A,” ARTnews, vol. 94/5, May 1995, p. 102). Works by individual artists have been discussed in Artforum, Art in America, and Graphis.Google Scholar
  4. 4.
    J. Wolfgang Goethe, Wilhelm Meister’s Theatralische Sendung, Vol. II, Zurich, Artemis Verlag, 1949, p. 9.Google Scholar
  5. 5.
    American Fine Arts, Jean-Claude Novaro, Master Glass Blower.Google Scholar
  6. 6.
    Guarino Guarini, Architettura civile, I. III. 7 (B. Vittone, ed., Turin, 1737), as cited by Peter Stein, Grove Dictionary of Art, 1996.Google Scholar
  7. 7.
  8. 8.
    Ibid., p. 58. Tymieniecka writes that the “drama-orchestration of the creative context brings the otherwise crudely trivial events of life into universally human significance.”Google Scholar
  9. 9.
    John-Erik Ritzman, “Glass: Capturing the Dance of Light,” National Geographic, vol. 184/6, December 1993, pp. 36–69, esp. p. 43.Google Scholar
  10. 10.
    This is the reversal of the question asked by Tymieniecka, op. cit., p. 55.Google Scholar
  11. 11.
    Ibid., p. 61. See also the discussion in note 40 in which various authors are shown to have transmuted their life experiences into art, not directly recorded them.Google Scholar
  12. 12.
    Ibid., p. 61.Google Scholar
  13. 13.
    Ibid., p. 63.Google Scholar
  14. 14.
    Ibid., p. 64.Google Scholar

Copyright information

© Springer Science+Business Media Dordrecht 2000

Authors and Affiliations

  1. 1.Western Kentucky UniversityUSA

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