Showing posts with label tchotchkes. Show all posts
Showing posts with label tchotchkes. Show all posts

Thursday, September 6, 2018

Nineteenth-Century Things of Beauty

Unknown Artist
Bell Jar with Wax Fruit and Dessert Arrangement
 ca. 1860-80
wax, paraffin, tempera, glass
Philadelphia Museum of Art

René Lalique
Necklace
ca. 1897-99
enameled-gold, opals, amethysts
Metropolitan Museum of Art, New York

 
John La Farge
Vase of Flowers
1864
oil on gilded panel
Museum of Fine Arts, Boston

John La Farge
Firescreen
1884
leaded opalescent glass and brass
Metropolitan Museum of Art, New York

Gradus Ad Parnassum

Oh I know
If I'd practiced the piano
I'd never be so low
As I now am

Where's Sylvia Beerman?
Married, rich and cool
In New Rochelle
She was nobody's fool,

She didn't write in verse
She hardly wrote at all
She rose she didn't fall
She never gave a damn

But got up early
To practice Gradus
Ad Parnassum – she
Feels fine.  I know.

– Muriel Rukeyser, from Breaking Open (Random House, 1973)

John La Farge
Wild Roses in an Antique Chinese Bowl
1880
watercolor
Museum of Fine Arts, Boston

Martin Johnson Heade
Lotus Blossom
ca. 1885-1900
oil on canvas
Museum of Fine Arts, Boston

Martin Johnson Heade
Magnolias
ca. 1883-1900
oil on canvas
Museum of Fine Arts, Boston

Martin Johnson Heade
Hummingbird and Apple Blossoms
1875
oil on canvas
Metropolitan Museum of Art, New York

John Frederick Peto
The Old Cremona
ca. 1887-90
oil on canvas
Metropolitan Museum of Art, New York

XIV

So I became very dark very large
a silent woman this time given to speech
a woman of the river    of that song
and on the beach of the world in storm given
in long lightning seeing the rhyming of those scenes
that make our lives.
Anne Sexton the poet saying
ten days ago to that receptive friend,
the friend of the hand-held camera:
"Muriel is serene."
Am I that in their sight?
Word comes today of Anne's
of Anne's long-approaching
of Anne's over-riding over-falling
suicide.    Speak for    sing for    pray for
everyone in solitary
every living life.

– Muriel Rukeyser, from The Gates (McGraw-Hill, 1976)

John Haberle
The Slate
ca. 1895
oil on canvas
Museum of Fine Arts, Boston

John Haberle
A Bachelor's Drawer
ca. 1890-94
oil on canvas
Metropolitan Museum of Art, New York

John Frederick Peto
Office Board
1885
oil on canvas
Metropolitan Museum of Art, New York

John Frederick Peto
Student's Materials
ca. 1890-1900
oil on canvas
Museum of Fine Arts, Boston

John Frederick Peto
The Poor Man's Store
1885
oil on canvas
Museum of Fine Arts, Boston

Thursday, September 1, 2016

Ionides collection II

Chinese export porcelain
European woman
c. 1735-45
Victoria & Albert Museum

Constantine Alexander Ionides (1833-1900) toward the end of his life concentrated less on buying new paintings and more on buying precious objects. He made, for example, a fascinating collection of 18th-century export porcelain figures from China depicting Europeans. Curators at the Victoria & Albert Museum speculate that the Chinese artists who created the figures may well never have set eyes on a living European. Almost certainly the immediate models for several of these figures (including the woman in the horned headdress, above) would have been European engravings.  

Chinese export porcelain
European woman
c. 1730-50
Victoria & Albert Museum

Chinese export porcelain
European woman
c. 1730-50
Victoria & Albert Museum

Chinese export porcelain
European couple
18th century
Victoria & Albert Museum

Chinese export porcelain
European couple
18th century
Victoria & Albert Museum

Chinese export porcelain
European couple
late 18th century
Victoria & Albert Museum

Chinese export porcelain
European woman
c. 1700
Victoria & Albert Museum

Chinese export porcelain
European man
c. 1700
Victoria & Albert Museum

Chinese export porcelain
European woman
c. 1760
Victoria & Albert Museum

Chinese export porcelain
European man
c. 1760-80
Victoria & Albert Museum

Chinese export porcelain
European gardener
1760s
Victoria & Albert Museum

Chinese export porcelain
European gardener
1760s
Victoria & Albert Museum

Chinese export porcelain
Dutch couple
late 18th century
Victoria & Albert Museum

Chinese export porcelain
European couple dancing
late 18th century
Victoria & Albert Museum

Wednesday, April 27, 2016

Meissen at the Victoria & Albert Museum II

Meissen porcelain factory
Abduction of Proserpine
c. 1752
modeled by Johann Joachim Kändler
Victoria & Albert Museum

Meissen porcelain factory
Putto as Harlequin
1756
modeled by Johann Joachim Kändler
Victoria & Albert Museum

Johann Joachim Kändler (1706-1775) became court sculptor to Frederick Augustus, Elector of Saxony in 1730 while still in his early twenties. In 1733 he became Chief Modeler for the Meissen Porcelain Factory, a post he retained for forty years. During that time he created more than 1,000 new models and "established the porcelain figure as its own distinctive art form," according to curators at the Getty.

The Meissen pieces by Kändler pictured here are part of the vast collection of Meissen-ware at the Victoria & Albert Museum in London. Some, like the elongated shepherdess below, were based on fashionable engravings. The commedia dell'arte figures farther down are conventional characters in conventional poses, but under Kändler's hands they came to resemble the simple melodies transformed by Mozart into unexpected poetic shapes.

Meissen porcelain factory
Shepherdess with birdcage
c. 1750-55
modeled by Johann Joachim Kändler
Victoria & Albert Museum

Meissen porcelain factory
Shepherds with bagpipes
c. 1750
modeled by Johann Joachim Kändler
Victoria & Albert Museum

Meissen porcelain factory
Razullo (commedia dell'arte)
1758
modeled by Johann Joachim Kändler
Victoria & Albert Museum

Meissen porcelain factory
Pantalone (commedia dell'arte)
c. 1741-44
modeled by Johann Joachim Kändler
Victoria & Albert Museum

Meissen porcelain factory
Columbine & Pantalone (commedia dell'arte)
c. 1738-41
modeled by Johann Joachim Kändler
Victoria & Albert Museum

Meissen porcelain factory
Harlequin (commedia dell'arte)
c. 1740
modeled by Johann Joachim Kändler
Victoria & Albert Museum

Meissen porcelain factory
 Columbine & Beltrame (commedia dell'arte)
c. 1740
modeled by Johann Joachim Kändler
Victoria & Albert Museum

Meissen porcelain factory
Cherry picking
1765
modeled by Johann Joachim Kändler
Victoria & Albert Museum

Meissen porcelain factory
Allegorical figure of Europe
1746
modeled by Johann Joachim Kändler
Victoria & Albert Museum

Meissen porcelain factory
Tailor on Goat
c. 1740
modeled by Johann Joachim Kändler
Victoria & Albert Museum

Meissen porcelain factory
The Merchant's Wife
c. 1758
modeled by Johann Joachim Kändler
Victoria & Albert Museum

Meissen porcelain factory
Shepherd & Shepherdess
c. 1741-43
modeled by Johann Joachim Kändler
Victoria & Albert Museum

Tuesday, April 26, 2016

Meissen at the Victoria & Albert Museum I

Meissen porcelain factory
Candlestick
c. 1736
modeled by Johann Friedrich Eberlein
Victoria & Albert Museum

Meissen porcelain factory
Candlestick
c. 1736
modeled by Johann Friedrich Eberlein
Victoria & Albert Museum

To begin with, three sets of rococo candlesticks from the early days of the famous Meissen factory in Germany. Europeans had long worshiped objects in white-paste porcelain imported from China. No equivalent technology existed in Europe until the Meissen people managed to approximate the ancient and secret Chinese recipe. Meissen-ware became wildly popular in 18th-century England. That fact accounts for the very large collection now preserved at the Victoria & Albert Museum in London, where the glazed face of each blossom asserts itself at an individualized angle.

Meissen porcelain factory
Candlestick
mid-18th century
Victoria & Albert Museum

Meissen porcelain factory
Candlestick
mid-18th century
Victoria & Albert Museum

Meissen porcelain factory
Candlestick
mid-18th century
Victoria & Albert Museum

Meissen porcelain factory
Candlestick
mid-18th century
Victoria & Albert Museum

Meissen porcelain factory
Salt cellar
c. 1765
modeled by Carl Cristoph Punct
Victoria & Albert Museum

Meissen porcelain factory
Salt cellar
c. 1765
modeled by Carl Cristoph Punct
Victoria & Albert Museum

Curators at the Victoria & Albert Museum explain that the purposes and uses of these porcelain figurines and figurine-groups would have varied from country to country. In Germany where they were created they served only a narrow and specific role at first. Such objects had been made of sugar paste and wax in earlier epochs. During the middle ages they appeared at banquets, usually during the dessert course, arranged as semi-edible table decorations. New, locally-made porcelain figures gradually came to replace such sugar-figures at formal German banquets. In England, by contrast, imported Meissen pieces were used from the beginning as free-standing objects of art, permanently displayed in special cabinets or arranged as bibelots on top of "domestic furnishing."    

Meissen porcelain factory
Flora & Cupid
c. 1750-55
modeled by Johann Joachim Kändler
Victoria & Albert Museum

Meissen porcelain factory
Venus & Cupid
c. 1747
modeled by Peter Reinicke
Victoria & Albert Museum

Meissen porcelain factory
Julius Caesar with the Horned Beast of Rome
c. 1753
modeled by Johann Joachim Kändler
Victoria & Albert Museum

Meissen porcelain factory
Hercules
c. 1744
modeled by Johann Joachim Kändler
Victoria & Albert Museum

Meissen porcelain factory
Children playing at dressing the Bride
1758
modeled by Johann Joachim Kändler
Victoria & Albert Museum

Meissen porcelain factory
Harlequin & Columbine with their Baby
c. 1740
modeled by Johann Joachim Kändler
Victoria & Albert Museum