Artistic America, Tiffany glass, and art nouveau
著者
書誌事項
Artistic America, Tiffany glass, and art nouveau
(An MIT Press classic)
MIT Press, c1970
大学図書館所蔵 全1件
  青森
  岩手
  宮城
  秋田
  山形
  福島
  茨城
  栃木
  群馬
  埼玉
  千葉
  東京
  神奈川
  新潟
  富山
  石川
  福井
  山梨
  長野
  岐阜
  静岡
  愛知
  三重
  滋賀
  京都
  大阪
  兵庫
  奈良
  和歌山
  鳥取
  島根
  岡山
  広島
  山口
  徳島
  香川
  愛媛
  高知
  福岡
  佐賀
  長崎
  熊本
  大分
  宮崎
  鹿児島
  沖縄
  韓国
  中国
  タイ
  イギリス
  ドイツ
  スイス
  フランス
  ベルギー
  オランダ
  スウェーデン
  ノルウェー
  アメリカ
注記
Includes index
内容説明・目次
内容説明
This book is a collection of published writings of Samuel Bing, a Parisian art dealer whose Salon de l'Art Nouveau not only gave the name but was pivotal to the movement that generated an international style. The essays include Artistic America (La Culture Artistique en Amerique, translated for the first time by Benita Eisler), an article on "Louis C. Tiffany's Coloured Glass Work," and two articles on "L'Art Nouveau." A devoted japoniste, Bing sought to bring about a renaissance in interior design and the decorative arts. He championed young craftsmen and artist-decorators and encouraged them to break away from prescribed formulas. Bing's patronage, his articles on Art Nouveau, and the displays of furniture, tapestry, and glass (he was the sole distributor of Tiffany glass in Europe) gave impetus to and provided direction for the cultural tendencies of his time. Robert Koch, an authority on Tiffany glass and Louis C. Tiffany's biographer, has compiled over one hundred superb illustrations, including some previously unpublished pictures of the 1900 Tiffany exhibit in Paris.
Artistic America, the major portion of this book, was originally published as a report to the French government of a trip Samuel Bing made to America in the early 1890s. His fresh and forthright observations on American painting, sculpture, architecture, and industrial arts make this a singular piece.
The translation preserves Bing's florid Belle Epoque style-the pomposities and eccentricities of a European art merchant who disdains American eclecticism and bad taste, yet who is most enthusiastic about interiors and the industrial arts in which he discerns American genius everywhere-in the boldness of conception and use of the most up-to-date machinery to produce practical household objects of silver, glass, wrought iron, and ceramics" The collective spirit of the New World workshops strikes him as a reflection of American democracy.
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