Relevant bibliographies by topics / Glass sculpture 20th century

Academic literature on the topic 'Glass sculpture 20th century'

Author: Grafiati
Published: 10 December 2022
Last updated: 29 January 2023

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Journal articles on the topic "Glass sculpture 20th century"

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Villegas-Broncano, Maria A., and J. Alberto Durán-Suárez. "Historical and technical insight into the human motifs in the glass sculpture." Arte, Individuo y Sociedad 33, no. 2 (February 4, 2021): 589–604. http://dx.doi.org/10.5209/aris.69159.

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Although glass proto-sculptures were made with deep artistic value since the most remote times, in the late 19th century the glass sculpture was developed, and during the 20th century the Studio Glass Movement reached the maximum level of technical perfection and aesthetic variety. The scientific and technical glass knowledge contributed to achieve appropriate hot and cold working procedures, and the artists improved their designs and creations. This paper focuses on the binomial glass sculpture and human motifs. The historic evolution of the glass sculpture with human motifs is analyzed, taking into account the production techniques and the relationships between the glass work and the expression of the finished artwork. A set of sculptures and sculptors are shown as representative examples of the main historical periods in which the glass plays an important role in the sculpture scene. The human representation in the glass sculpture can be considered as a constant throughout centuries, even though it is not the most frequent creative or ornamental motif. Either figurative or abstract human references can be found, although the former are the majority. This tendency is also present in the contemporary Studio Glass Movement sculptures.
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Duda, Vasile. "Armonia spațialității pozitive și negative în sculptura artistului Ingo Glass." Studia Universitatis Babeș-Bolyai Historia Artium 65, no. 1 (December 31, 2020): 185–220. http://dx.doi.org/10.24193/subbhistart.2020.10.

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"Harmony of Positive and Negative Spaciousness in Ingo Glass sculpture. The aim of this article is to discuss issues regarding the ways spaciousness and harmony of positive and negative surfaces in Inglo Glass sculpture are valorized. The artist was born in 1941 in Timișoara, he studied at the Traditional School of Arts from Lugoj and then he attended the university in Cluj. Between 1967-71 he worked as curator at the Museum of Contemporary Arts from Galați and he established connections with visual artists from all over the country. Later on, between 1972-73 he worked as teaching assistant at the Architecture University from Bucharest and then he became cultural consultant at the German Culture House Friedrich Schiller. During this period, Ingo Glass created a Constructivist Art with metal structures developed vertically following the spatial pattern specific to the great Gothic cathedrals– the most famous work Septenarius was built in 1976 on the Danube boardwalk from Galați. Being forced by the political circumstances from the Socialist Republic of Romania, he emigrated to the Federal Republic of Germany in 1979, he moved to München where he worked for the Municipal Art Gallery and where he was integrated in the group of Concrete-Constuctivist Art artists. After 1989 he came back to Romania with different exhibitions and he created public monuments in Galați, Timișoara, Moinești and Lugoj. Then, in 1992 he presented his PhD thesis about the influence of Constantin Brâncuși Art over the 20th century sculpture. Between 1989-1998 the artist crystallized an original visual concept based on the usage of the basic geometric shapes in conjunction with the primary colours. Ingo Glass upgraded Bauhaus theory and he associated the square with blue, the triangle with yellow and the circle with red. By using shapes and primary colours the artists creates Concrete Art, a new symbolic universe, purely geometrical, the harmony of his entire work being given by the proportion and link between full and empty spaces. Expanded spaciousness specific to the Constructivst Art phase experiments the architecture-sculpture link and the monumentality of the metallic structures encourages the entrance to the central core of works. The open, non-material dimension forms the main volume of the sculpture, the empty space dominates the full shape and it outlines the effects of an unrated and irrational spaciousness. Balanced spaciousness specific to the Concrete Art phase experiments geometrical combinations, based on the basic shapes in positive and negative intersections, by the spaciousness and non-spaciousness link, the pace between full and empty spaces. The usage of the three basic geometrical shapes also influenced the combining vocabulary of these elements, and it even ensured the ordering and deduction of the empty space. The utopia of basic forms expresses tendencies towards positive irreductible forms of energy or negative forms through non-materiality, where the concepts of mass, weight, space and time are added. In each of his works, the artist used a proportion between the elements of the composition through a rational interpretation stimulated by the achievement of a geometrical order as the essential basis of tasks. The relation between positive and negative spaciousness appears constantly in the sculpture of the last century and the rhytm and sequence of its spatial effects are determined by a sense of proportion that involves an aesthetic of proportion. Thus, we can definitely say that the work of the artist Ingo Glass originally captures all these aspects of Contemporary Art. Keywords: sculpture, spaciousness, Ingo Glass, constructivism, Concrete Art. "
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Ilkosz, Jerzy, Ryszard Wójtowicz, and Jadwiga Urbanik. "New Form, New Material and Color Scheme, the Exposed Concrete Phenomenon—The Centennial Hall in Wrocław." Arts 11, no. 1 (January 12, 2022): 17. http://dx.doi.org/10.3390/arts11010017.

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The aim of the article is to present the remarkable changes in architecture that took place in the 20th century. They can easily be called a revolution regarding the architectural form and the color scheme. Progress was being made through the development of reinforced concrete production methods. In the German Empire (Deutsches Kaiserreich), this material quickly found applications in more and more interesting solutions in architectural structures. In Wrocław (formerly Breslau), then located in the eastern German Empire, exceptional architectural works were realized before and after the First World War using new technology. In 1913, an unusual building was erected—the Centennial Hall, designed by Max Berg (inscribed on the UNESCO World Heritage List in 2006). Berg’s work was inspired by the works of both Hans Poelzig and Bruno Taut. On the one hand, it was a delight with the new material (the Upper Silesian Tower at the exhibition in Poznań, designed by H. Poelzig) and, on the other hand, with the colorful architecture of light and glass by B. Taut (a glass pavilion at the Werkbund exhibition in Cologne). Max Berg left the concrete in an almost “pure” form, not hiding the texture of the formwork under the plaster layer. However, stratigraphic studies of paint coatings and archival inquiries reveal a new face of this building. The research was carried out as part of the CMP (Conservation Management Plan—prepared by the authors of the article, among others) grant from The Getty Foundation Keeping It Modern program. According to the source materials, the architect intended to leave the exposed concrete outside of the building, while the interior was to be decorated with painting, stained glass, and sculpture. The stratigraphic tests showed that the external walls were covered with a translucent yellowish color coating. Thus, the Centennial Hall shows a different face of reinforced concrete architecture.
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Jagla, Jowita. "From a Noble Substance to an Imitative Body. The Image and Meaning of Wax Figures in a Votive Offering." Roczniki Humanistyczne 67, no. 4 SELECTED PAPERS IN ENGLISH (October 30, 2019): 59–79. http://dx.doi.org/10.18290/rh.2019.68.4-3en.

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The Polish version of the article was published in Roczniki Humanistyczne vol. 62, issue 4 (2014). In a wealth of votive gifts, the wax ones undoubtedly deserve special attention. They were common as early as in the Middle Ages, and they were used until the 20th century. There was a variety of such votive offerings, starting with candles, through lumps of wax, and ending with full-scale wax figures that started being used as a votive gesture at the break of the 13th and 14th centuries in the north of Europe. In the 15th and 16th centuries this custom became popular among the wealthy German, Austrian and Italian noblemen. Making wax votive figures took a lot of skill so they were made by specially qualified artists (in Italy wax figures called Boti were produced by sculptors called Cerajuoli or Fallimagini). Religious orders collaborated with the artists-artisans, undertaking to supply wax, whereas the artisans prepared wooden frames, natural hair, glass eyes, paints, textiles and brocade. In the following centuries, the production of wax figures developed ever more dynamically, especially in the north of Europe, with less skilled wax modellers, artisans and gingerbread makers often being their producers. The latter ones mainly made smaller wax figures, cast or squeezed from two-part concave models (this type of items in their form and type reminded of figures made of gingerbread). Wax votive figures (especially of children aged three to 12) funded in the area of Upper and Lower Franconia (the Bamberg and Würzburg dioceses) from the mid-19th to the mid-20th century are a separate and rather unusual phenomenon. Popularity of this votive offering became stable about 1880, in the years 1900–1910 it reached its climax; and in the 1950s it came to an end. Franconian offerings were always constructed in a similar way: they had wax faces and hands (more rarely feet), and the other members were made of wood, metal and some other padding materials. Dolls were a dominating model for the production of these votes, and that is why, like dolls, they had wigs made of natural hair on their heads, glass eyes and open mouths. A very important role was played by clothing, in which figures were willingly dressed; they were children’s natural, real clothes (girls were often dressed in the First Communion dresses); moreover, the effigies had complete clothing, which means they had genuine underwear, tights, leather shoes. The figures were supplied with rosaries and bouquets held in their hands, and on the heads of girls there were garlands. The figures were put in cabinets and glass cases, sometimes with wallpaper on the back wall, and they had a longer text on the front glass with the name of the child, or possibly of its parents, and the time when the figure was offered. Despite the many features making the Franconian offering deposits different from votive figures from other regions, all these items are joined by a timeless and universal idea, in which—to quote H. Belting—“an artificial body has assumed the religious representation of a living body…”
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Portnova, Tatiana. "Dance in Sculpture of the Early 20th Century." Sculpture Review 68, no. 4 (December 2019): 22–34. http://dx.doi.org/10.1177/0747528420901915.

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This article is concerned with the ratio of plastic arts as exemplified by sculptural works depicting dances of the early 20th century. Special attention is paid to the Greek motives in the Russian art of this period, which became the subject of inexhaustible aesthetic and artistic interest. The representation of ancient dance motifs, their figurative image and the nature of antiquity in sculptural plastics, various approaches to the interpretation of ancient plots and themes, the role and significance of the “antique” component in their artistic structure are considered in the article. The study of multi-level interactions between sculpture and dance in the context of antiquity calls for a comprehensive approach, including historical-cultural, theoretical-analytical and comparative-typological methods. Relating to ancient Greek images, ballet images of S. Konenkov, M. Ryndzyunskaya, N. Andreev, V. Vatagin, V. Beklimishev and S. Erzya provide a purely individual, unique and peculiar vision of dance corresponding to the ancient era. The categories and expressive means of dance were simultaneously analyzed close to the sculptural style of the masters because they are difficult to be divided methodologically and exist as an established artistic system. The concepts of “plastic expressiveness” in relation to the dancers imprinted in sculptures were interpreted. Analyzing the museum materials and sculptures depicting the dancing process, it was concluded that the ancient influence of plastic images on structural and genre determinants may vary.
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Odrekhivskyi, Volodymyr, Vasyl Odrekhivskyi, and Roman Odrekhivskyi. "Ukrainian sculpture of the 20th century: main ideological and plastic transformations." LAPLAGE EM REVISTA 7, no. 3B (September 20, 2021): 187–94. http://dx.doi.org/10.24115/s2446-6220202173b1534p.187-194.

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In this article we attempt at demonstrating the inseparability of Ukrainian sculpture from global culture creating process despite cultural and political isolation as a component republic of the Soviet Union for over 70 years of the 20th century. There is a considerable difference in the character of creativity of Ukrainian sculptors, who lived and worked within the borders of the Soviet Union, and those, who migrated to Western Europe or America and had an opportunity to freely experiment with shape and ideas. In this article, particular attention is dedicated to those personalities that have made the most significant ideological and plastic transformations in the 20th-century sculpture with respect to the previous epochs, i.e., to the sculpture of avant-garde and modernism. The last decade of the 20th century was marked by the end of the Soviet-era cultural isolation from the democratic world, when a powerful stream of information penetrated the artistic arena of already independent and open Ukraine, and simultaneously the examples of various conceptual trends and styles appeared – from pop art and installation to performance art, which influenced the development of sculpture.
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Steklova, Irina A., and Olesya I. Raguzhina. "THE SCULPTURE PARKS OF THE MID-20TH CENTURY: UNDERLYING ARTISTIC CONCEPTS." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 38 (2020): 107–24. http://dx.doi.org/10.17223/22220836/38/11.

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Dzwonkowska, Paulina. "Photography and sculpture:The multifaceted relation of sculpture to photography and new media in the light of the evolving concept of sculpture." Journal of Education Culture and Society 1, no. 1 (January 17, 2020): 26–36. http://dx.doi.org/10.15503/jecs20101.26.36.

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The relationship between photography and sculpture, unlike the dialogue between the latter and painting, was long treated as a peripheral issue. Yet as early as the mid-20th century photography began to show potential that sculpture seemed to be lack. Aware of a large degree of overlap between the two forms of artistic expression, (e.g. with respect to materiality, spatiality, or accentuating frozen gestures) sculptors did not leave sculpture for photography, but attempted to create works that were interdisciplinary in structure. The rise of interest in photography displayed by Polish sculptors was closely connected with the evolution of the concept of sculpture. In the mid-20th century artists creating traditional sculptures (understood as a solid or as a visually rendered spatial form) began to experiment and cross the boundaries of well-established artistic tradition. The changes introduced enabled sculptors to interweave their field with other artistic disciplines, especially photography, even more closely. More and more frequently, sculpture started to establish multi-faceted relations with the new medium. At the beginning the potential of photography as a documentation tool was exploited. Then sculptors began to appreciate photography’s core values, using it to capture and preserve a given moment in time. Finally, they applied it in works that can be classified as close to hyperrealism. The employment of still newer materials and tools made the link between sculpture and photography inextricable, as can be shown through works of Polish artists.
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Weintraub, David A. "Breaking the glass ceiling of 20th-century astronomy." Physics Today 73, no. 4 (April 1, 2020): 46–47. http://dx.doi.org/10.1063/pt.3.4454.

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Choi, Sun il. "Flow of Buddhist Sculpture in the First Half of the 20th Century." Dongak Art History 24 (December 31, 2018): 91–109. http://dx.doi.org/10.17300/dah.2018.24.4.

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Dissertations / Theses on the topic "Glass sculpture 20th century"

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Frantz, Susanne K. "ARTISTS AND GLASS: A HISTORY OF INTERNATIONAL STUDIO GLASS (SCULPTURE)." Thesis, The University of Arizona, 1987. http://hdl.handle.net/10150/291668.

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Corcoran, Cristine C. "Dudelsacks : sculptural extensions in blown glass." PDXScholar, 1989. https://pdxscholar.library.pdx.edu/open_access_etds/3863.

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This thesis project consists of 19 sculptures. The medium is hot blown glass. The work interprets and extends the visual and metaphorical qualities of bagpipes. The utilization of the German dudelsack references the playful improvisational nature of these international and culturally diverse forms.
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Bishop, Daniel. "Conceptual and practical considerations inherent in the production of figurative bronze sculpture." Virtual Press, 2003. http://liblink.bsu.edu/uhtbin/catkey/1266031.

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This creative project identifies major conceptual and practical considerations inherent in the production of bronze figurative sculpture. What is considered and how, those considerations are weighted will vary among individuals. Many of these considerations affected my selection of subjects for the studio portion of the project. The paper touches upon considerations which both inhibit and advance a career in art, and have affected both aesthetic and procedural choices.A brief account of foundry procedures is presented. The studio portion of the creative project consists of four sculpted female dancers. The paper addresses a historical context with which each piece may be associated. Two figures exhibit the strong influence of Greek sculpture of the Classical period. The third figure is Impressionist in style. The forth figure has a Cubist influence.
Department of Art
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Crellin, Sarah. "Bodies of evidence : making new histories of 20th century British scuplture." Thesis, University of Huddersfield, 2015. http://eprints.hud.ac.uk/id/eprint/27075/.

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This thesis includes a monograph, The Sculpture of Charles Wheeler (London: Lund Humphries in association with the Henry Moore Foundation, 2012), and a catalogue essay ‘Let There Be History: Epstein’s BMA House Sculptures’, in Modern British Sculpture, ed.by Penelope Curtis and Keith Wilson (London: Royal Academy of Arts, 2011). The book is the first study of Wheeler, an important but neglected sculptor who was President of the Royal Academy from 1956-66; the Epstein essay looks anew at a notorious episode in the career of one of modernism’s canonical practitioners, coming to radically different conclusions to the accepted narrative. The accompanying analytical commentary reflects on the complex research journey towards understanding and articulating hidden histories of modern British sculpture. Deploying traditional methodologies of archive exploration and making connections between divergent critical and artistic groupings has enabled the construction of new histories. Disrupting the appropriation and elision of ‘modern’ with ‘modernist’ and ‘avant-garde’ restores the work of non-canonical practitioners to the historical moment of the first half of the 20th Century, while historical analysis draws mythologised artists into the contingencies of the real world. These publications offer original insights and their impact is becoming evident in the fields of British sculptural and architectural history. Beginning in the recent past as I prepared to write this thesis, the commentary moves into the deeper history of the research journey, considering my theoretical approaches, the initial difficulties of writing against the prevailing academic fashion, the serendipities of a supportive scholarly milieu and the details of making Wheeler’s history. The value of the monograph itself is discussed. Reviewing Epstein’s modernist cause célèbre proved the transferable value of dispassionate archival research. The commentary finally comes full circle, concluding in October 2014 when I found myself, unexpectedly, implicated in the very history to which I have contributed.
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Lui, Shi-mun Patricia, and 呂詩敏. "Research on the art of Zhu Ming with special focus on his Taiji', andThe living world' series." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1985. http://hub.hku.hk/bib/B31207388.

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McGown, Katie. "Dropped threads : articulating a history of textile instability through 20th Century sculpture." Thesis, Northumbria University, 2016. http://nrl.northumbria.ac.uk/36117/.

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Despite the ‘post-media condition’ of contemporary practice, some materials continue to be more equal than others. Cloth has a problematic history in Western art, frequently dismissed for its perceived inability to convey meaning beyond its own materiality, or a narrow idea of identity. The following thesis reconsiders this perspective and argues that it arose from the concurrence of heterogeneous post-war groups such as Post-Minimalism, and Fiber and Tapestry Movements, and the plethora of textile-based work they created. I review the accompanying critical responses to demonstrate how they sought to differentiate the use of fabric within these movements through the entrenchment of boundaries between valourised ‘art’ and denigrated ‘craft’. The thesis analyses how these categories were further complicated by mismatched lexicons of textile terminology. While fibre movements referred overtly and directly to fabric, the coinciding art theory primarily described its functions and affectations. We talk about the ‘softness’ of Oldenburg’s sculptures, not the cloth that makes them. This research argues that while there has been increasing scholarship surrounding these suppressed ‘craft’ textile practices, there is little exploration of the parallel and distinct material history of fabric within Western canonical Fine Art. The project addresses this asymmetry by focusing on the unspoken instances of cloth in mainstream twentieth century sculptural work and identifying the particular ways that artists have used this material. Artists have long employed the quotidian and shifting nature of textiles to convey ideas of instability, an impulse that can be traced back to Marcel Duchamp's 1913 work 3 Standard Stoppages. In order to critically interrogate the existing histories of textiles in twentieth century sculptural practices, the historical narratives presented in a number of exhibitions and catalogues are investigated. These accounts are considered in relation to three case studies that examine instances of structural, spatial and temporal instability in which cloth disrupts and untethers notions of fixed forms and static spaces. Investigating these narratives highlights historical cloth omissions, allowing for an understanding of how amnesiatic textile gaps affect practitioners today. My own cloth-based sculptural practice gives me a material authority and alternative perspective with which to question these received art historical narratives, and that in turn allows me to re-contextualise my decision to consistently work with this medium. My research-led practice centres on fabric objects that reference architectural forms; pieces that explore and exploit the unstable nature of cloth through their unfixed nature, and that I constantly reposition, resisting a final placement. By documenting these movements through photography and video, different temporalities are suggested, and a series of works that fluctuate between stasis and fluidity, order and chaos, are created. Accompanying these works are passages in the dissertation that reflectively a ddress the process of making and contending with the legacy of cloth. This project argues that fabric has been under-recognised but widely used in sculptural practices for over a century. Through explicitly articulating this narrative, a richer historical context for works that use fabric can be ascertained, and the insufficient complement of textile language in contemporary artistic discourse can be redressed.
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Heron, Elizabeth. "The Unveiling." PDXScholar, 1988. https://pdxscholar.library.pdx.edu/open_access_etds/2048.

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The method I use in creating abstract sculpture presented the question that became the subject of my Master's thesis. Only occasionally will I create from a pre-conceived concept. The sculptures evolve through a process of addition and subtraction of material to something that simply pleases me. This method, really no method at all, seemed contradictory to my original intentions. My artistic goals were purposeful; I wanted to create sculpture that would provoke a reaction first, not a judgment of features. I wanted the viewers emotional and psychological involvement to be the basis for content and meaning in the work. In spite of the indirect approach, I felt there was some success in achieving my goal. Discovering how this occurred was important because I was at a loss to understand the content of my own work. Did the sculpture I was making hold any deeper meaning for me? My thesis proposal advanced the question of how sculptural form expresses content. A more accurate question is, what does it mean? I had faith that I was indeed making art that was more than a pleasant arrangement of forms. Confident that there was also meaning, I proceeded to explore and analyze the relationship of creative process to sculptural form and content. While writing a draft of my thesis, I realized the question was beyond a definitive answer. This was a personal investigation of a fundamental question. My expectation was that insight and analysis would provide the answer I needed.
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Lang, Graham Charles. "Aspects of brutality : anxious concepts in sculpture since 1950." Thesis, Rhodes University, 1987. http://hdl.handle.net/10962/d1012724.

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It would be wrong to suggest that this essay is in any way a comprehensive study of brutal sculpture. Certainly not. There have been many deliberate omissions for reasons which become clear in the text. Very briefly, omissions of certain sculptors and their work are largely due to my wish to avoid repetitive ideas and images. My view in this essay is to provide a cross-section of ideas and works, whereby the reader might gain some insight into the varied nature of this kind of sculpture. Thus, there seemed very little need for endless similarities of concept and expression. It was the diversity which I felt was important. The chapter which discusses concepts of beauty is also not a comprehensive study. This subject demands more than a humble essay to do it any justice. However, my reasons for touching the vague and controversial outline of these concepts were, primarily, to suggest that notions of beauty as the sole criterion in the judgement of art are too limiting, and, consequently, to introduce the concept of vitalism, which I believe is more valid. Finally, I wish to mention the personal motive behind this work. Over the years, I have witnessed the emergence of brutal elements in my own work, which I found disturbing at times. I have never been able to answer satisfactorily the criticism I've received. All I knew was that these things came from a very deep source. It is with this in mind that I embarked on this project, hoping to achieve two things. Firstly, to provide an objective survey of an important development in art, and, secondly , to answer some of my criticism. Foreword, p. 1.
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Taylor, Damian. "Busy working with materials : transposing form, re-exposing Medardo Rosso." Thesis, University of Oxford, 2015. http://ora.ox.ac.uk/objects/uuid:29b3640a-a68e-45d1-8f42-130702bc9819.

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This thesis examines how making extends artists' thoughts beyond their conceptions. Central to this is consideration of how an artist's statements and their work relate: this thesis argues that the relationship is neither of identity nor contradiction, but of a productive tension from which emerges a richer understanding of thought. A similar approach underscores this doctorate's relationship of studio and written components, both of which desire self-sufficiency. The studio work consists of discrete yet mutually informing series, all engaged with the specificity of a moment of exposure, whether here and now or recording a past moment. The notion of 'documentation' underscores these works, which include large chemical photographs, high-definition video, cyanotypes and extensive exploration of casting to reveal latent images. The written component is a thorough study of the various instances of Medardo Rosso's sculpture Ecce Puer, offering art-historical and theoretical grounding of hands-on making as a way pressing cultural issues inhere in a work at a more fundamental level than understood by its contemporaries or maker. The first chapter locates Rosso in his historical milieu. Chapter 2 assesses the elements constituting Ecce Puer; it argues that no definitions of a 'work' adequately encompass these, and coins the term 'complex work' to designate artworks indivisibly singular and plural, concrete and abstract. Chapter 3 offers phenomenological interpretation of Rosso's confused writings, illuminating them through Maurice Merleau-Ponty's late philosophy but understanding Rosso's thought as inadequate to the complexity of his work. Chapter 4 examines Rosso's photography, specifically his photography of photographs, connecting what this achieves to his phenomenology. Chapter 5 introduces a key notion of 'friendship' to understand how the connections between instances of Ecce Puer became 'meaningful'. Having offered a fundamentally new interpretation of Rosso's project, chapter 6 extends Michael Fried's history of French painting to relocate Rosso within early twentieth-century art.
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MacDonald, Alexander M. "Decorated Vitrolite pigmented structural glass : its development, applications, and methods of production, 1907-1958." Virtual Press, 2005. http://liblink.bsu.edu/uhtbin/catkey/1327783.

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Pigmented structural glass started being produced in the early years of the twentieth century, reached its height in popularity during the 1930's, and was no longer produced by 1960s. Vitrolite was one of the most popular brands of pigmented structural glass, It was first used as a white glass background for decalcomania advertisements and as cladding in areas were sanitation was desired. Several types of applied decoration were developed for Vitrolite that helped to expand it's applications in building beyond sanitary applications. These types of decoration include painted, sand-blasted, inlaid, laminated, agate, and surface textured designs. Decorated Vitrolite was commonly used on store fronts, in signage, and for restaurant interiors and lobbies. All decorated Vitrolite was completed in the Vitrolite factory prior to shipping to customers. The processes of creating the various types of ornamentation, how they developed, and their applications are the focus of this thesis.
Department of Architecture
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Books on the topic "Glass sculpture 20th century"

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Kangas, Matthew. Robert Willson: Image-maker. San Antonio: Pace-Willson Foundation, 2001.

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The essential Dale Chihuly. New York: Wonderland Press, 2000.

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Karen LaMonte: Absence adorned. Tacoma, WA: Museum of Glass, International Center for Contemporary Art ; University of Wash. Press, 2005.

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Anne, Molesworth Helen, Wienberg David, and Wexner Center for the Arts., eds. Josiah McElheny: Notes for a sculpture and a film. Columbus: Wexner Center for the Arts, Ohio State University, 2006.

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Barbara, Rose, Roberts Lisa C, McDonnell Mark, and Garfield Park Conservatory (Chicago, Ill.), eds. Chihuly: Gardens & glass. Seattle, Wash: Portland Press, 2002.

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Chihuly, Dale. Chihuly: Color, glass, and form. Tokyo: Kodansha international, 1986.

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Robert, Lyons, ed. Out of the fire: Contemporary glass artists and their work. San Francisco, Calif: Chronicle Books, 1991.

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Miller, Bonnie J. Out of the fire: Contemporary glass artists and their work. San Francisco: Chronicle Books, 1991.

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Cousins, Mark. 20th century glass. New York: Shooting Star Press, 1996.

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20th century glass. Secaucus, N.J: Chartwell, 1989.

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Book chapters on the topic "Glass sculpture 20th century"

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Körner, Hans. "Speared Heads. Portraits as Things in 20th-Century Sculpture." In Art History and Fetishism Abroad, 57–70. Bielefeld, Germany: transcript Verlag, 2014. http://dx.doi.org/10.14361/9783839424117-003.

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Cazzaro, Irene. "The Drawing and the Artefact: Biomorphism in the Design of Murano Glass Objects in the 20th Century." In Proceedings of the 2nd International and Interdisciplinary Conference on Image and Imagination, 792–803. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-41018-6_65.

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Jackson, Myles W. "Buying the Dark Lines of the Solar Spectrum: Joseph Von Fraunhofer’s Standard for the Manufacture of Optical Glass." In Scientific Credibility and Technical Standards in 19th and early 20th century Germany and Britain, 1–22. Dordrecht: Springer Netherlands, 1996. http://dx.doi.org/10.1007/978-94-009-1784-2_1.

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ANDERSON, PHILIP W. "SPIN GLASS." In World Scientific Series in 20th Century Physics, 639–52. WORLD SCIENTIFIC, 2005. http://dx.doi.org/10.1142/9789812567154_0053.

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"GLASS, PHILIP." In Music in the 20th Century (3 Vol Set), 250. Routledge, 2016. http://dx.doi.org/10.4324/9781315702254-174.

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Anderson, Philip W. "Spin Glass I: A Scaling Law Rescued — Spin Glass II: Is There a Phase Transition? — Spin Glass III: Theory Raises Its Head — Spin Glass IV: Glimmerings of Trouble — Spin Glass V: Real Power Brought to Bear — Spin Glass VI: Spin Glass as Cornucopia — Spin Glass VII: Spin Glass as Paradigm." In World Scientific Series in 20th Century Physics, 525–38. WORLD SCIENTIFIC, 1994. http://dx.doi.org/10.1142/9789812385123_0036.

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BRESKIN, A., and G. CHARPAK. "A GLASS TRACK CHAMBER." In World Scientific Series in 20th Century Physics, 58–60. WORLD SCIENTIFIC, 1995. http://dx.doi.org/10.1142/9789812795878_0014.

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ANDERSON, PHILIP W. "The Fermi Glass: Theory and Experiment." In World Scientific Series in 20th Century Physics, 353–59. WORLD SCIENTIFIC, 2005. http://dx.doi.org/10.1142/9789812567154_0027.

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"The Fermi Glass: Theory and Experiment." In World Scientific Series in 20th Century Physics, 273–79. WORLD SCIENTIFIC, 1994. http://dx.doi.org/10.1142/9789812385123_0017.

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Anderson, P. W. "SURVEY OF THEORIES OF SPIN GLASS." In World Scientific Series in 20th Century Physics, 395–411. WORLD SCIENTIFIC, 1994. http://dx.doi.org/10.1142/9789812385123_0026.

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Conference papers on the topic "Glass sculpture 20th century"

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Dekeyser, L., H. J. M. Wouters, G. Ligovich, A. Verdonck, and H. De Clercq. "Composition of ‘Marbrite Fauquez’ 20th-century opalescent glass: results of historical study and laboratory analyses." In Integrated Approaches to the Study of Historical Glass - IAS12, edited by Hugo Thienpont, Wendy Meulebroeck, Karin Nys, and Dirk Vanclooster. SPIE, 2012. http://dx.doi.org/10.1117/12.975233.

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Corves, Burkhard, Ju¨rgen Niemeyer, and Johannes Kloppenburg. "IGM-Mechanism Encyclopaedia and the Digital Mechanism Library as a Knowledge Base in Mechanism Theory." In ASME 2006 International Design Engineering Technical Conferences and Computers and Information in Engineering Conference. ASMEDC, 2006. http://dx.doi.org/10.1115/detc2006-99059.

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The Institute of Mechanism Theory and Machine Dynamics of RWTH Aachen University houses a large collection of more than 200 mechanisms and models. Partly they are used to illustrate and visualize kinematic basics and methods taught to students. Furthermore these models are also used as a basis for mechanical designers looking for a solution to their motion tasks in different machinery such as packaging or processing machines. These models span a wide arch from historic models showing e.g. sewing machines from the late 19th century, typewriters from the early 20th century and acrylic glass models still used today in university lectures where they are placed on the overhead projector. With the swift development of the internet as the major base for information retrieval, new ideas about knowledge presentation have come up. Today it is obvious that fast and easy access to information is a major success factor in most areas both economics and science and is therefore of eminent importance. New developments in information technology and related software have created new possibilities for the presentation of scientific knowledge also in mechanism theory [1]. In this paper the IGM-Mechanism Encyclopaedia and the Digital Mechanism Library will be presented. Both use the possibilities of the internet to make basic and specific knowledge for the analysis and synthesis of mechanisms available to a broad public.
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Aristizábal, José Antonio. "HUMBERTO RIVAS, DESDE LO ROMÁNTICO Y LO SINIESTRO. HUMBERTO RIVAS FROM THE ROMANTIC AND THE SINISTER." In I Congreso Internacional sobre Fotografia: Nuevas propuestas en Investigacion y Docencia de la Fotografia. Valencia: Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/cifo17.2017.6880.

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Palabras clave:Fotografía, estética, Humberto Rivas, Rafael Argullol, Eugenio Trías.Keywords: Photography, esthetic, Humberto Rivas, Rafael Argullol, Eugenio Trías.Resumen:El siguiente artículo busca dar una lectura a la obra del fotógrafo Humberto Rivas, Premio Nacional de Fotografía y unos de los mayores exponentes de la fotografía española de finales del siglo XX. Se parte de la convicción de que hace falta ubicar a Humberto Rivas en una tradición de pensamiento estético, ya que las distintas lecturas que existen sobre su trabajo, aunque importantes, no han dejado de ser lecturas impresionistas que no han reflexionado en profundidad sobre su obra. Este artículo trata de ver a Rivas a partir de unas categorías estéticas. Para ello se remite a las reflexiones de Rafael Argullol para distinguir aquello propio del artista romántico, y a las aportaciones filosóficas de Eugenio Trías acerca de lo siniestro en la obra de arte, y las vincula a la obra de Humberto Rivas. La hipótesis inicial es de que Rivas no se sentía como un fotógrafo que atrapa momentos o documenta acontecimientos, sino como un creador, y su obra es resultado de un artista que se repliega sobre sí mismo con la intención de producir una imagen reflejo de su mundo interior, la cual se puede explicar desde la mente del artista romántico, aunque el contexto no sea el romanticismo. Por último, aunque el artículo hable sobre Humberto Rivas, también es una manera de construir un relato entre la imagen fotográfica y distintos valores estéticos que hacen parte la historia del arte. Abstract:The following article seeks to give a reading to the work of photographer Humberto Rivas, National Photography Prize and one of the greatest exponents of Spanish photography at the end of the 20th century. It is based on the conviction that it is necessary to locate Humberto Rivas in a translation of aesthetic thought, since the different readings that exist on his work, although important, have not ceased to be Impressionist readings that have not reflected in depth on his work . This article tries to see Rivas from some aesthetic categories. For this he refers to the reflections of Rafael Argullol to distinguish that of the romantic artist and the philosophical contributions of Eugenio Trías about the sinister in the work of art, and links them to the work of Humberto Rivas. The initial hypothesis is that Rivas did not feel like a photographer who catches moments or documents events, but as a creator, and his work is the result of an artist who recoils on himself with the intention of producing a reflex image of Its inner world, which can be explained, from the mind of the romantic artist although the context is not romanticism. Finally, although the article talks about Humberto Rivas, it is also a way to build a narrative between the photographic image and the values ​​that have served to interpret painting or sculpture in the history of art.
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Reports on the topic "Glass sculpture 20th century"

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Murray, Chris, Keith Williams, Norrie Millar, Monty Nero, Amy O'Brien, and Damon Herd. A New Palingenesis. University of Dundee, November 2022. http://dx.doi.org/10.20933/100001273.

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Robert Duncan Milne (1844-99), from Cupar, Fife, was a pioneering author of science fiction stories, most of which appeared in San Francisco’s Argonaut magazine in the 1880s and ’90s. SF historian Sam Moskowitz credits Milne with being the first full-time SF writer, and his contribution to the genre is arguably greater than anyone else including Stevenson and Conan Doyle, yet it has all but disappeared into oblivion. Milne was fascinated by science. He drew on the work of Scottish physicists and inventors such as James Clark Maxwell and Alexander Graham Bell into the possibilities of electromagnetic forces and new communications media to overcome distances in space and time. Milne wrote about visual time-travelling long before H.G. Wells. He foresaw virtual ‘tele-presencing’, remote surveillance, mobile phones and worldwide satellite communications – not to mention climate change, scientific terrorism and drone warfare, cryogenics and molecular reengineering. Milne also wrote on alien life forms, artificial immortality, identity theft and personality exchange, lost worlds and the rediscovery of extinct species. ‘A New Palingenesis’, originally published in The Argonaut on July 7th 1883, and adapted in this comic, is a secular version of the resurrection myth. Mary Shelley was the first scientiser of the occult to rework the supernatural idea of reanimating the dead through the mysterious powers of electricity in Frankenstein (1818). In Milne’s story, in which Doctor S- dissolves his terminally ill wife’s body in order to bring her back to life in restored health, is a striking, further modernisation of Frankenstein, to reflect late-nineteenth century interest in electromagnetic science and spiritualism. In particular, it is a retelling of Shelley’s narrative strand about Frankenstein’s aborted attempt to shape a female mate for his creature, but also his misogynistic ambition to bypass the sexual principle in reproducing life altogether. By doing so, Milne interfused Shelley’s updating of the Promethean myth with others. ‘A New Palingenesis’ is also a version of Pygmalion and his male-ordered, wish-fulfilling desire to animate his idealised female sculpture, Galatea from Ovid’s Metamorphoses, perhaps giving a positive twist to Orpheus’s attempt to bring his corpse-bride Eurydice back from the underworld as well? With its basis in spiritualist ideas about the soul as a kind of electrical intelligence, detachable from the body but a material entity nonetheless, Doctor S- treats his wife as an ‘intelligent battery’. He is thus able to preserve her personality after death and renew her body simultaneously because that captured electrical intelligence also carries a DNA-like code for rebuilding the individual organism itself from its chemical constituents. The descriptions of the experiment and the body’s gradual re-materialisation are among Milne’s most visually impressive, anticipating the X-raylike anatomisation and reversal of Griffin’s disappearance process in Wells’s The Invisible Man (1897). In the context of the 1880s, it must have been a compelling scientisation of the paranormal, combining highly technical descriptions of the Doctor’s system of electrically linked glass coffins with ghostly imagery. It is both dramatic and highly visual, even cinematic in its descriptions, and is here brought to life in the form of a comic.
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