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.
Artistic activity as engaged involvement in reality leads to the rejection of any preconceived image existing in itself and outside of that art which creates it.
Picasso2
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).
This is a preview of subscription content, log in via an institution to check access.
Access this chapter
Tax calculation will be finalised at checkout
Purchases are for personal use only
Preview
Unable to display preview. Download preview PDF.
Notes
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 ).
As cited by Astone Gasparetto, “Glass,” 7, vol. 6, London: McGraw Hill, 1962, col. 367–92.
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.
J. Wolfgang Goethe, Wilhelm Meister’s Theatralische Sendung, Vol. II, Zurich, Artemis Verlag, 1949, p. 9.
American Fine Arts, Jean-Claude Novaro, Master Glass Blower.
Guarino Guarini, Architettura civile, I. III. 7 (B. Vittone, ed., Turin, 1737), as cited by Peter Stein, Grove Dictionary of Art, 1996.
Ibid.
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.”
John-Erik Ritzman, “Glass: Capturing the Dance of Light,” National Geographic, vol. 184/6, December 1993, pp. 36–69, esp. p. 43.
This is the reversal of the question asked by Tymieniecka, op. cit., p. 55.
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.
Ibid., p. 61.
Ibid., p. 63.
Ibid., p. 64.
Author information
Authors and Affiliations
Editor information
Editors and Affiliations
Rights and permissions
Copyright information
© 2000 Springer Science+Business Media Dordrecht
About this chapter
Cite this chapter
Trutty-Coohill, P. (2000). Fire and Ice: Le Verre Magique, Le Vrai Magique. In: Kronegger, M. (eds) The Orchestration of the Arts — A Creative Symbiosis of Existential Powers. Analecta Husserliana, vol 63. Springer, Dordrecht. https://doi.org/10.1007/978-94-017-3411-0_17
Download citation
DOI: https://doi.org/10.1007/978-94-017-3411-0_17
Publisher Name: Springer, Dordrecht
Print ISBN: 978-90-481-5335-0
Online ISBN: 978-94-017-3411-0
eBook Packages: Springer Book Archive