Search results for ""Arnoldsche""

The topicality of Hanns Hoffmann-Lederer’s (1899–1970) design doctrine, with its claim to a comprehensive aesthetic education, lies in the fact that it represents an important counterbalance to today’s euphoria for digitalisation. For a long time the young Bauhaus Master and design pedagogue opposed the publication of his concept for a fundamental artistic education, one which united and expanded the content of many different trends within the Bauhaus teachings. For him the risk that his exercises could be misunderstood as prescriptive was too great. Yet greater still was the drive of his enthusiastic students, who compiled exemplar images, edited teaching notes, and in 1958 conceived the first draft for a potential publication. Here Justus Theinert and Rainer K. Wick trace the moving life and the distinct pedagogical attributes of this fascinating personality. Text in German.

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Heidi Kippenberg studied ceramics under Walter Popp, the legendary teacher at the Kassel Art Academy whose avant-garde work opened up new dimensions of form and expression for ceramic vessels. She internalised the aesthetic of Popp’s vessels and simultaneously gave them her own distinctive touch. Strongly twisted, thick-walled, sometimes mounted stoneware vessels, further enlivened by thick monochrome glazes and augmented with sign-like contrasting glazed accents, characterise her oeuvre. Later she was inspired by East Asian ceramics and began to build her vessels, assembling them from slabs, giving their surfaces a lively structure, and transforming them into decorative landscapes. An oeuvre spanning more than half a century can be admired! Text in German. Published to accompany an exhibition at Brutto Gusto, Berlin, between 10 September and 30 October 2021.

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Founded in Idar-Oberstein in 1847, the company Constantin Wild has left its mark on the world of gemstones like barely any other enterprise. For its 175th anniversary, Constantin Wild, great-grandson of the company’s founder, has been out on the trail of history. He now takes us back to the beginnings of the Wild family, which looks back on a tradition of 400 years of artistic stonecutting and also in the trading of one-of-a-kind gemstones. Travel with him around the globe on the quest for the most beautiful and rarest stones. Discover sublime items of jewellery — a selection of the very best, the zenith of international haute joaillerie. Their beauty begins with the stone, and often enough this begins chez Constantin Wild: without that fine cut, by adept craftsmen and artists, the expressive colour of the gemstone fails to come into its own. Only once it has been subjected to these processes can the gemstone unfold its true character, to reach its final fiery, vivacious brilliance. In this publication, Constantin Wild presents a selection of exceptional gemstones in short vignettes. The opulently designed publication Gems, Colours & Wild Stories is an homage to and an affirmation of love for the irrepressible diversity of these extremely valuable gemstones.

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This two-volume publication illustrates the evolutionary history of the pendulum clock from the early Age of Metternich and provides detailed explanations on their engineering. In addition, it contains a catalogue with almost 400 wall and longcase clocks, most of which have never been published, and a unique index with over 14,000 entries on clockmakers from all over the Austrian Empire, including a vast amount of previously unknown masters and workshops. It also includes biographical information on the makers, locations of the workshops, masterpieces and exhibits from trade exhibitions, inventions, characteristic features of the pieces, sales outlets, and the prices of the time. An indispensable compendium on classic longcase and wall clocks of the Austrian Empire and a major reference work for all those with an interest in clocks! Text in German.

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In 2020, in recognition of outstanding accomplishments in new design concepts and developments in craftsmanship, the Danner Prize, four honorary Danner awards, and an impressive exhibition were conferred for the thirteenth time. This publication presents the selected works with large-format photographs, descriptions of the artisans, and texts by renowned artists. To celebrate the 100th anniversary of the Danner Stiftung, several choice objects from the foundation’s own collection are also being exhibited, alongside exquisite items of jewellery by the court goldsmith Karl Rothmüller. This diverse series of highlights is complemented by photos from the exhibition in the Pinakothek der Moderne in Munich. Read, view, and enjoy this all-round fascinating publication! Published to accompany an exhibition at Die Neue Sammlung - The Design Museum - in Munich from 15 October 2020-17 January 2021. Text in English and German.

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A 'vessel for living' - such were the words Glenn Adamson used to describe this remarkable residence. Richard Meier designed the Grotta home to house Sandra and Louis Grotta's collection of contemporary studio jewellery and significant works in wood, ceramic and fibre. The building was conceived around the collection, framing the objects within the open architecture, which comprises an equal blend of glass and concrete. Nature, visible from many vantage points, plays an essential supporting role. The Grotta Home by Richard Meier: A Marriage of Architecture and Craft is rich in photographs of the collection and provides impressive insights into this exceptionally personal project. The accompanying essays afford the reader a greater sense of how the Grottas have not simply acquired art, but have immersed themselves in it.

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The tale of the shepherd girl Radha and the Hindu god Krishna is probably the most famous love story in India. Written by Jayadeva at the end of the twelfth century, the Gitagovinda narrates the highs and lows of Radha and Krishna's relationship. As a vivid metaphor for the human yearning for god, the work is today closely associated in India with the religiosity of Krishna. In the eighteenth century, in the former princely residence of Guler, the artist family of Nainsuhk and Manaku created the outstanding picture series of the second Guler Gitagovinda of 1775/80, which recounts the love story with an unparalleled elegance. This book retells the story using selected pieces from this series (printed in original size) and whisks the reader off into the atmospheric world of Indian miniature painting and poetry. This book accompanies an exhibition at Museum Rietberg, Zurich, 24 October 2019 - 16 February 2020. Text in English and German.

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The publication for the nineteenth Silver Triennial provides an exciting review of the current silver scene from across the globe. The competition is organised by the Society for Goldsmiths' Art in collaboration with the City of Hanau, which invited internationally renowned silversmiths and metal designers as well as emergent up-and-coming artists to participate in the competition. The diverse repertoire of silver everyday implements; such as tea-, water- and coffee pots, bowls, cutlery, candlesticks and jars, as well as abstract objects; is exemplary of twenty-first-century silversmithing. A top-class jury selected the award winners and exhibitors. Text in English and German.

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Gunnar S. Gundersen (1921-1983) was one of the most important Norwegian artists of the post-war period. Together with several other artists, he was part of a modernist breakthrough. He started abstract painting in 1947, and by around 1960 his art had evolved towards a fully non-figurative form. Gundersen became one of the few Concrete artists in Scandinavia, together with Richard Mortensen in Denmark and Olle Bonniér and Olle Bærtling in Sweden. An important part of his oeuvre consists of the many rich, colourful wall paintings made from 1950 to 1980. Despite Gundersen having exhibited all over the world, an international breakthrough eluded him. A gallery dedicated to his art was opened in Høyanger in Western Norway in November 2018. Text in English and Norwegian.

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Comprehensive monograph on this internationally-renowned metal artist, featuring work from across nearly 50 years. Explore the most precisely and stringently crafted metal art of Pal Vigeland. Photography by Guri Dahl offers many close-ups to zoom in on the production process. Pal Vigeland has worked as a metal artist for nearly 50 years. Everything he has ever made, from jewellery and plates to public commissions and sculptures, has always been characterised by precision and stringency. This book shows the continuities between Vigeland's earliest years and the present, while also exploring many of the surprising changes that have taken place along the way. The intricate production methods that underlie Pal Vigeland's latest works in tin are difficult to comprehend when standing in front of the finished pieces. Consequently, one major contribution to this book are Guri Dahl's photographs of the artist at work. Her many close-ups allow us to zoom in on the constructive processes and appreciate how exacting and time-consuming they really are. Text in English and Norwegian.

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Follow these Canadian artists as they travel abroad and return home again, over a series of journeys taking place during the last decades of the nineteenth century to the turn of the twentieth. 130 masterworks by some 35 artists situate Canadian art within the global phenomenon of Impressionism and present a fresh perspective on its reception in the arts of Canada. Adopting a thematic approach, comprehensive essays demonstrate the commitment of these pioneering artists to an innovative interpretation of foreign and familiar surroundings, imbued with an Impressionist vocabulary.

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Narcissus Quagliata is considered one of the most significant contemporary artists in glass. He has defined a new pathway in this field by combining painting with light, and he is best known for his spectacular artworks in public spaces, which have drawn world-wide attention. These include The Dome of Light: Wind, Fire, and Time in Kaohsiung, Taiwan, the largest illuminated glass dome in the world. Contrasted with this, MUTANT is perhaps his quietest, most personal and most intimate book, in which, for the first time, readers will come to know the person behind the artist through his thoughts, poems, sketches and his latest artworks - an impressive exploration on the relationship between dreams, words and images. Text in English, Italian and Spanish.

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Alongside artistically experimental aspects of education, the ThinkingJewellery 'trademark' stands as a contextual leitmotif throughout the gemstones and jewellery study programme at Trier University/Idar-Oberstein campus. The aims of ThinkingJewellery comprise scientifically oriented research as well as discourse on the historical and societal interconnection of jewellery. Highlights are the ThinkingJewellery symposia, which are now accompanied by a series of periodicals. The new series discusses contributions to a contemporary theory of jewellery beyond disciplinary boundaries or typical categories. The texts envisioned for ThinkingJewellery 2 include 'On the Cultural History of the Gemstone', 'Goethe on Colour' and 'Cold Shine - Empty Glamour, on Jeff Koons's Celebration Series', which are based on lectures from the 2017 symposium.

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From 1958 to 1973 the Young Art Circle of Fulda (JUKU) was intensively engaged with post-war modernist art. With its mentor Karlfried Staubach almost a hundred exhibitions were carried out that not only enriched the cultural life of the German city of Fulda but shook it up on many occasions. This volume deals not with the reconstruction of regional art and cultural history but rather with the rediscovery of an episode in German post-war art. By way of example are Franz Erhard Walther and Verena Pfisterer, who continued their artistic genesis in JUKU as contemporaries of Beuys, Richter and others at the Düsseldorf Art Academy. The graphic prints published to finance the JUKU gallery, and the exhibition catalogues, designed too with the group's own print works, are shown in full for the very first time. Artists include: Karl-Oskar Aha, Rudolf Benz, Karin Boese, Manfred Buse, Dieter Ebert, Erich Fischer, Gertraut Fuchs, Ellinor Giebel, Pedro Herzig, Erhard Imhof, Egon Knapp, Helmut Kopetzky, Jean-Luc Mercié, Oswald Pejas, Verena Pfisterer, Thomas Rücker, Thomas-Peter Schardt, Gisbert Seng, Karlfried Staubach, Robert Sturm, Franz Erhard Walther and Bärbel Zielke. Text in German, with full English translations in the appendix.

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With Impulses, the Gold and Silversmith's Craft Trust in Schwäbisch Gmünd celebrates its thirtieth anniversary. The book documents the Trust's extensive achievements and shows highlights from publications, workshops and exhibitions. The main focus lies on the detailed presentation of the sixteen goldsmiths in residence. In 1989 the Trust was the very first German institution to appoint a City Goldsmith and continued to do so every two years. Famous artists like Max Fröhlich, Norman Weber and Deganit Stern Shocken are among the award winners. The outstanding setup of the exemplary works allows new perspectives on the diverse artistic expressions in gold and silver. Text in English and German.

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The 300 works of the Lotte Reimers Foundation showcase the wide spectrum and the diversity of modern ceramic art. The works by 115 international artists, from classical vessels to free sculpture, are to now permanently move to Friedenstein Castle in Gotha, giving rise to this comprehensive publication. As a former gallerist and museum director as well as passionate ceramicist, Lotte Reimers is profoundly grounded in the material and with her unmistakeable flair has compiled this collection, which will now remain within the museum. Her engagement and life-long fostering of ceramic art makes her one of the most significant personalities in the European ceramic scene. Text in English and German.

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The Miller Ceramic Art Collection features masterpieces highlighting the artistic ideals of numerous luminaries of mid-twentieth century to early twenty-first century American ceramic art. In addition, the collection includes important examples of European and Japanese ceramic artworks of the same period. Marlin Miller's profound understanding of materials began with ceramic engineering. His interest in brick and its role in architecture informs a keen eye for surface texture, dimension and materiality. The publication is a comprehensive presentation of one of the world's most distinguished private collections of contemporary studio ceramics, and an observation on the correlation between ceramics and architecture. With contributions by Meghen Jones, Sequoia Miller, Michael McKinnell and Wayne Higby.

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Chunghi Choo (b. 1938 in South Korea) is a world-renowned metalsmith and jewellery artist who is best known for her works that incorporate such techniques as electroforming and electro-applique. Choo's artwork is represented in major museums around the world, including the Metropolitan Museum of Art (US), the Victoria and Albert Museum (UK) and the Musée des Arts décoratifs (FR). In addition, she is professor emeritus of the University of Iowa (US), where she established a metals programme, which she brought to international prominence during her more than thirty years of service. Many of her students have since become critically acclaimed artists in the fields of fine arts, jewellery, textiles, metalsmithing and sculpture. This volume reviews Choo's remarkable career, showing selected pieces from the last six decades of extraordinary craftsmanship that earned her status as Elected Fellow of the American Craft Council. Works by thirty former students reveal Choo's influence on a subsequent generation.

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For centuries ceramics have been a central feature of Chinese art and culture. They were employed in everyday life and served as both ritualistic and funerary objects. Dr Heribert Meurer's pre-eminent collection of 174 high-quality pieces dating from 1050 BCE to AD 1280 - which up until now has remained unpublished - offers an impressive panorama of the artefacts' roles, as well as the vessel forms and techniques of early Chinese ceramic art, complemented by over 30 objects from the GRASSI Museum Leipzig, where the collection was endowed in 2017. The focal points of the collection are the ceramics of the Tang and Song dynasties. Examples of the popular Sancai (tricolour) lead glaze, Celadon porcelain from Yueyao, Yaozhou and Longquan and Changsha ware, so-called Jian black porcelain from Jianyang Prefecture and Quingbai ware from the southern kiln sites of the Song era illustrate the wealth, diversity, high quality and exceptional appeal of early Chinese ceramics. Text in German.

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In Testament Kadri Mälk leaves more than just the legacy of her prodigious artistic output of recent years. Alongside impressive new jewellery pieces and breathtaking detailed photographs, the publication conveys an emotional creative aspiration. The jewellery artist's works are not merely decoration; they teem with expression. The unusual format and creative photography transform the book into an experience. What at first are regarded as accents of colour are assigned new values in their detail; structures, materials and cuts are visible and at once experienceable. Nature photography and sketched models add further levels of contemplation and understanding, immersing the reader fully in the wild and poetic dark world of Estonian art jewellery. Text in English and Estonian.

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Daniel Kruger (b. 1951), widely known as a jewellery artist, presents an overview of his ceramic works, featuring 230 pieces created over twenty years. Classic examples - tulip and lidded vases, delftware and dinner services - are familiar references, which Kruger decorates with images of footballers, homoerotic nudes or casts of twigs or bones. Worlds collide, revealing our preconceptions regarding conventions that provide a manipulated view of reality. There is less interest in the spectacular; Kruger's choice of images however, leads to unexpected, provocative combinations of form with decoration. In a continual process of artistic acquisition, new interpretation and appropriation, Kruger explores the interstice between historical archetypes and kitsch within European ceramic history.

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With his residential buildings, office blocks, schools and factories, Boris Velikovsky (1878-1937) made a definitive contribution to Russian avant-garde architecture. His early constructions, such as Gribov House in Moscow, are still very much bound to Russian Neoclassicism, yet since the Revolution of 1917, he increasingly designed Constructivist architecture. One example is his Gostorg Management Building, distinguished by glass facades, the functional division of space and use of state-of-the-art materials. Furthermore in the garden city of Druzhba for instance, Velikovsky intensively engaged with new ideas in town planning. With mostly hitherto unpublished technical plans as well as numerous historical and new colour photographs of his most famous projects, Boris Velikowsky's contribution to Russian avant-garde architecture is appreciated for the first time in book form.

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With this publication a comprehensive study of Impressionism in Canada is available: from its beginnings in France, via the dissemination of the new style through artists, gallerists, dealers and collectors in North America, and its incorporation into and propagation within a hitherto conservative milieu, to the reception of Canadian Impressionism both nationally and internationally. The study culminates in the concise portrayal of the lives and works of fourteen of the most significant Canadian artists - including William Blair Bruce, Maurice Cullen, J. W. Morrice, Laura Muntz Lyall, Marc-Aurele de Foy Suzor-Cote, Helen McNicoll and Clarence Gagnon - along with several other artists who for some time also employed Impressionist techniques. In this overview not only are the sources of inspiration in French Impressionism presented but also how masterfully and with aplomb these artists found their own artistic form of expression, which has decisively shaped Canadian Impressionist painting today.

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"When I am working with colours, I feel like a painter. When I am working with metal, I feel like a constructor. And when I am working with toys, I feel like a child." (Felieke van der Leest). The work of Dutch jewellery and object artist Felieke van der Leest (born in 1968) expresses the very special affection that she has for animals. With unbridled fantasy she creates pieces that ostentatiously, colourfully and playfully revolve around her little friends. She combines techniques used in textile work, such as crochet, with valuable metals and plastic toy animals. Within the international art jewellery scene she has developed her own special language with which she narrates intelligent and witty stories with her animal protagonists; her pieces inevitably conjure a smile upon the faces of those who view them. Characteristic for Van der Leest is the joy in her work, which is ever present yet sometimes carried off into childhood. Serious themes in her work are also expressed, including environmental protection and human approaches to animals. The current publication comprises jewellery and objects by the renowned artist from 1996 to the present.

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The upsurge in publishing in the sixteenth century turned the Reformation into a media event, and printed products of every kind superseded the communication methods used thus far. Flyers were particularly successful in reaching their audiences as an easily affordable information medium. Renowned artists such as Hans Sebald Beham, Lucas Cranach Sr, Albrecht Durer and Michael Ostendorfer produced the woodcuts for these single-sheet prints, which thematised the political, religious and societal happenings of the time. Portraits of protagonists, such as Luther and Karl V., but also fables and proverbs as well as reports on miracles and celestial phenomena, catastrophes and crime all found their platform in these pages. One of the largest collections of illustrated single-sheet prints in the Palace Museum of the Stiftung Schloss Friedenstein in Gotha provides a rich treasure trove of prints that informed the Reformation. The Gotha inventory of around 700 flyers from 1480 to 1599 is today considered unprecedented. Now for the first time it has been published in its entirety.

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The present publication is an essential part of the narrative of Wayne Higby's retrospective exhibition - focusing on the concept of the artist scholar - at ASU Art Museum, in Spring 2013. It documents his ceramic work with over 150 images of 50 seminal works and gives context to the story behind the artwork. Wayne Higby's international reputation both as an artist, a scholar and teacher will be explored in the contributions to this book that includes a detailed chronology of Higby's life and career as well as highlights and excerpts from his well known writings on ceramic art. Essays on the American Landscape and American landscape art as the inspiration behind Higby's work as well as his important, influential explorations into contemporary vessel aesthetics are included along with an essay that chronicles his central role in the development of contemporary Chinese ceramic art. Additionally, Higby's recent, dramatic, late career move to large architectural installations is explored in detail. Born in Colorado Springs, Colorado, Wayne Higby received a B.F.A. from the University of Colorado at Boulder, in 1966, and an M.F.A. from the University of Michigan, Ann Arbor, in 1968. Since 1973, he has been on the faculty of the New York State College of Ceramics at Alfred University, Alfred, NY. Wayne Higby is recognised as one of the most important and influential ceramic artists of the late 20th, early 21st, century. In particular, his work is celebrated for its innovative use of the language of landscape.

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This publication presents the results of a competition that was initiated by the Kolloquium Nordrhein-Westfalen to promote the artistic and creative use of steel as a material, and that was held in the department of metal design in the Design Faculty of the University of Applied Sciences and Arts in Hildesheim. Diverse pieces of jewellery and small-scale sculptures were created as a result, which either make use of the brittle hardness of the material or else override these properties. They open up unusual insights into contemporary applied metal art, situated between artistic uniqueness and design-orientated craftsmanship. Jewellery and objects by four award winners are presented, as well as work by students and graduates. The presentation is enhanced with works by established artists, which complete the spectrum and the possibilities of designing with steel.

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Petra Zimmermann occupies a unique position among emerging contemporary jewellery artists: she shares their exciting approach to the subject of jewellery and the quotable adoption of the pop culture label for defining the auteur jewellery concept in which she succeeds, this time through historical reference. The artist draws on past encounters with costume jewellery from the previous century for her rings, bracelets and brooches. Comprised of bright, colourful synthetic forms, these objects receive a framework in which their artificial appearance contrasts to the dusty splendour of the historic costume jewellery. Beguiling pieces of jewellery emerge, which combine the present fascination for glamour with an element of progression, thus referencing the costume jewellery as an essential component in the production and construction of glamour in the portrait photography of the Hollywood diva. In her latest series of works, the artist uses mass media images of models, floral motifs, architecture and design objects which broaden her scope of cultural and social interpretations. Thus behind the visual opulence of her work, she succeeds in handling relevant aesthetic and social themes in her pieces; relevant for a generation that no longer struggles against traditional conventions, but that negotiates much more in an increasingly complex environment in the search for personal and historical coherence. Petra Zimmermann is one of the most ambitious artists in contemporary jewellery. This book provides the first overview of her fascinating and exciting creative jewellery works with sumptuous images and scholarly articles.

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BjA rn Ransve (b. in 1944) is one of the most important contemporary Norwegian artists. Since the onset of late Modernism, he has played a crucial role in shaping painting in Scandinavia and today his works are represented in all important museums there. In the rest of Europe and the US, he is regarded as an insider tip for collectors. A particularly striking aspect of Ransve's work is the constant shift between the representational and abstraction - often in parallel. In addition, he is a consummate master of traditional oil-painting techniques - working the medium in anything from small formats to canvases 15 metres across. His 1960s fragmented bodies, his searching studies of animal cadavers, the motifs he has borrowed from the history of art and his enigmatically demonic visions often look aggressive and distorted yet are sensitively executed - an ambivalence that informs Ransve's oeuvre and is perhaps most radically expressed in works in which the representational clashes with abstraction. This book provides a survey of Ransve's impressive painterly oeuvre. The accompanying text investigates the changing and recurrent groups of motifs and places the works in their art historical context. Since each page of the book has been designed individually in close collaboration between Ransve and the graphic artist and book designer Silke Nalbach, BjA rn Ransve's development as an artist can be traced in a way that is particularly illuminating.

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Perhaps Norman Weber - as a native of Schwäbisch Gmünd - was born with a love of jewellery. Following a traditional training as a gold and silversmith in Kaufbeuren-Neugablonz, where he teaches today at the State Vocational College for Glass and Jewellery, he studied with professors Hermann Jünger, Otto Künzli and Horst Sauerbruch at the Academy of Fine Arts in Munich. Here the then 25-year-old began his search, together with his colleagues Karl Fritsch, Peter Bauhuis and Karen Pontoppidan, for new paths and definitions in contemporary jewellery. Today Norman Weber is the storyteller in the contemporary studio jewellery scene. For example with the brooches from his series "Portraits", which investigates clichés such as Barbie dolls. Focusing on a particular area of interest - popular images, comics and populist icons - the artist enmeshes the images in perfectly executed constructions - Weber is after all a goldsmith through and through - thereby giving them a new home. At times the critical jewellery artist places these figures in a completely new context. In this way jewellery is moved in the direction of pop and takes on the character of shrill fashion emblems. Precious stones made of velour in jewellery conjure up a smile on the lips of a viewer before he even begins to reflect on the meaning of the spurious stones. But Norman Weber not only tells stories. Other pieces are shaped by underlying constructivist elements - convincing jewellery because their mechanical elements are infused with an exciting dynamic. This monograph provides a first survey of the oeuvre of this talented jewellery master. Exhibition in the Deutsches Goldschmiedehaus Hanau from 2nd September 2010 and further venues thereafter, in Munich and Schwäbisch Gmünd. Text in English & German.

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Simple form soaring to delicate compositions shapes the work of the Italian artist Giampaolo Babetto. Moderate in his use of proportion, he links cube and square, cylinder and circle, pyramid and triangle to achieve configurations of extraordinary beauty. His jewellery is celebrated - like all his work. His pieces clearly indicate that he belongs to the 'Paduan School'. There are echoes of Minimalism, Neo-Plasticism, Neo-Constructivism and arte programmata/cinetica. In this title, a wealth of colour illustrations shows the most beautiful pieces by Giampaolo Babetto and his immediate environment - the Euganean Hills south of Padua. Ellen Maurer Zilioli introduces his work, placing it in its art historical context.

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For decades the American artist Marjorie Schick has been a pioneering exponent of avant-garde jewellery. Her dynamic objects, charged with energy, are rooted in the revolutionary late 1960s European conception of jewellery and transgress the conventional boundaries of form, material and colour. The artist regards the human body as 'living sculpture' and constructs works of sculpture in a wide variety of materials to extend the body. Her works are often on an excitingly grand scale: a brooch that stretches far across the wearer's shoulder to occupy the surrounding space; a neckpiece so large that it creates its own physical environment; an object that is worn on the shoulders yet envelops the entire head. Marjorie Schick's jewellery relates to 20th-century abstract art, especially Constructivism. Here, body sculpture is created that must be classified as abstract art. Text in English and German.

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Lotte Reimers' joining forces with Jakob Wilhelm Hinder and the extensive ceramics exhibition with which he was touring West German cities in 1951 marks the onset of her passion for this craft. Committed to making the public aware of ceramics as art, Hinder and Reimers ended their tour at Deidesheim in 1961. Lotte Reimers' creative approach to managing the Deidesheim ceramics museum and gallery has received critical and popular acclaim both at home and abroad. Acquired by the state in 1993, the Deidesheim museum collection is now known as the Hinder/Reimers Collection of the State of Rhineland-Palatinate. Lotte Reimers embarked on a career of her own as an art ceramist in 1965. While running the museum and gallery, she has been adding to her impressive uvre for nearly forty years.

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Color in Knitting: By Designers, for Designers delves into the methods of constructing multicolour knits using knitting structures, techniques, and technologies. The book not only showcases the beauty of multicolour knitwear but also provides a solid foundation for readers to further explore and manipulate these methods for their own design work. The book begins with a colour journey of fascinating patterns, designed and implemented by Stoll from both past decades and recent collections, which illustrate the different colour effects of multicolour knitting. In the second part of the book, the authors provide insight into the specific structures and techniques used to create these patterns; the section also includes stitch diagrams written using basic knitting symbols to further elucidate the construction of a knit.

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The Art & Times of Daniel Jocz presents the entrancing and challenging work of American jewellery artist and sculptor Daniel Jocz. There is a spontaneous quality to the work, yet it is always rich with meaning. His open spirit is fully embodied in the 2007 neckpiece series An American’s Riff on the Millstone Ruff. Inspired by the extravagant scale of 17th-century Dutch ruffs at the Rijksmuseum in Amsterdam, he decided to update them with automobile paint. Jeannine Falino takes an in-depth look at the twists and turns of Jocz’s long career, from his early geometric sculptures to the fashion-forward flocked Candy Wear collection, and from his ruminations on Marlene Dietrich in the form of necklaces featuring enamel smoked cigarettes to the wall reliefs he explores today. Wendy Steiner considers Jocz’s place in the avant-garde through the lens of fashion and culture, while Patricia Harris and David Lyon explore his involvement in the rollicking Boston jewellery scene of the late 20th century.

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The Museum of Applied Arts (MAK) in Vienna holds a unique collection of Italian maiolica from the 15th to the 18th century, which is now being published almost in its entirety for the very first time. Maiolica tableware, Italy’s luxury export, spread to the courts of northern Europe from the early 16th century. Today, the MAK’s holdings from former imperial, ecclesiastical, aristocratic, and private ownership enter into a dialogue with maiolica from well-known Austrian and Central European collections. Timothy Wilson, professor emeritus at Balliol College Oxford and former Keeper of Western Art at the Ashmolean Museum in Oxford, and Rainald Franz, curator at MAK, together with other experts provide an extensive insight into the development of maiolica in its cultural and historical context. Thus a scholarly exploration of one of the best collections of maiolica in the world has now been scientifically examined for the very first time. With contributions by Rainald Franz, Michael Göbl, Nikolaus Hofer, and Timothy Wilson.

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Manfred Bischoff (1947–2015) was one of the most innovative jewellery artists of our time. He designed items of jewellery that tell stories and enriched his language of forms through references to contemporary art, quotations from art history and philosophy, and inspiration from his bountiful world of ideas. Through this, he developed his own particular way of mounting his jewellery pieces on drawings, on which messages and titles appear in his own characteristic hand. In this book, his work is showcased in its entirety for the very first time, including early works, which attracted little attention in previous publications. The publication is oriented on the sequence of places that each had a major influence on his works: first Berlin, followed by further locations in Italy. The book not only documents Manfred Bischoff’s multifaceted oeuvre with numerous illustrations and preliminary sketches; it also provides insights, via additional private photos and notes, into a remarkable artistic universe. Text in English and German.

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In the 18th century pugs found their way onto the laps of noblewomen and, with this, into the portraits of contemporary rulers. Small and forever panting, the pug could not be put to use as a watchdog or a herding dog, but it compensated for this with its charm. The dog ultimately found its way onto porcelain and faience. Johann Joachim Kändler, the most significant modeler of the Meissen porcelain manufactory, designed over 60 variants of the pug between 1740 and 1760 - standing, lying, scratching, and performing tricks. Kändler portrayed the pug belonging to Count Heinrich von Brühl in a splendid one-off, but he also produced models for serial production. This southern German collection comprises over 150 ceramic pugs as well as other dogs. Moreover, they do not just appear individually; they may also be part of a courtly scene or decorate wares in the gallant style - accessories such as flacons, (snuff) boxes, and walking-stick handles. Text in English and German.

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Tadema Gallery was founded in 1978 by Sonya and David Newell-Smith in London's famed Camden Passage in Islington. They were successful photo-journalists who ventured into the field of 20th century abstract art and the decorative arts of the 19th and 20th centuries. By 1982 they had discovered a passion for artist-designed jewellery and showed in the gallery an eclectic choice of jewels from significant designers of the Revivalist, Art Nouveau, Arts & Crafts, Jugendstil, Art Deco, and Modernist movements. With over 500 unique jewellery pieces from the 1860s to 1960s, the book reflects the 40-year history of the gallery and the superb eye of its inspirational founders.

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Arte Vetraria Muranese (AVEM) emerged from the liquidation of Successori Andrea Rioda in November 1931. The new factory placed a very personal accent on contemporary artistic glass production on Murano: while designs prior to the Second World War were generally still the responsibility of master glassblowers themselves, after the war designers and freelance artists increasingly determined production. Giulio Radi began experimenting in 1940, obtaining the company's signature chromatic effects by superimposing mould-blown layers of glass, often opaque and transparent in alternation, and inlaying them with gold and silver foil. This latest volume of Marc Heireman's ongoing Murano manufactory books features over 800 design drawings, numerous archive images and new photos of AVEM masterpieces, making this anthology of the company's history indispensable for all Murano glass lovers.

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Jewellery in Context is the doctoral dissertation, edited by Theo Smeets in its first English translation, by the Dutch art historian and design critic Marjan Unger (1946-2018). In this work she initially endeavours to formulate a general definition of jewellery. Yet above all she also analyses to what extent jewellery is associated, across the globe, with different, sometimes contrary issues: all human fears, but also desires, have, in a sense, materialised as objects of adornment, she postulates. This comprehensive approach aimed not least at developing a solid theoretical framework to aid the study of jewellery. Thus the text can already be seen as an outright standard reference work, indispensable for all students of jewellery. However, experts, too, will discover new perspectives on the phenomenon of jewellery. Contents: Foreword - Theorems; 1. Introduction; 2. Definitions and classifications; 3. Art history as foundation for the study of jewellery; 4. Man as measure; 5. Angles from other disciplines; 6. Symbolism in jewellery; 7. Evaluation; 8. Conclusion.

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A recently discovered plaster of Little Dancer, Aged Fourteen is critically challenging our understanding of Edgar Degas' most famous work. Documentary and technical evidence confirm that the plaster was cast from Degas' Little Dancer before the wax sculpture was extensively reworked after 1903. The plaster thus records Degas' wax as it appeared when it shocked the Parisian art world at the sixth Impressionist exhibition of 1881. It reveals a far more revolutionary work than the reworked Little Dancer wax and the posthumous Hébrard bronzes we know today. The plaster shows why Joris-Karl Huysmans, in 1881, raved that Degas' Little Dancer was "the only truly modern attempt I know of in sculpture" and why the work left Whistler in a state of near delirium. The plaster reveals Degas at his most innovative by introducing a radical idea of posing a lowly 'opera rat' as a revered figure by giving her an iconic pose, then locking her into a square vitrine, thus emphasising her symmetrical, four-sided stance. It is now clear that in his Little Dancer Degas anticipated radical ideas that came to define key aspects of modern art, dramatically impacting his most noted peers, including Whistler, Manet, Seurat and Sargent. Even twentieth-century masterpieces by Duchamp, Giacometti, Oldenburg, Warhol and Hirst reflect, albeit indirectly, Degas' masterful innovations.

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