Eva Zeisel: Life, Design, and Beauty by Pat Moore, Pirco Wolfframm, Brent C. Brolin, Pat Kirkham

By Pat Moore, Pirco Wolfframm, Brent C. Brolin, Pat Kirkham

Author note: Brent C. Brolin (Photographs), Pat Kirkham (Editor), Pirco Wolfframm (Concept & layout)

Eva Zeisel was once one of many 20th century's such a lot influential ceramicists and architects of contemporary housewares. Her unique tackle glossy business layout was once encouraged by means of natural shape and taken attractiveness and playfulness to housewares, incomes her designs a liked position in midcentury houses.

This richly illustrated volume—the first-ever whole biographical account of Zeisel's lifestyles and work—presents an intensive survey of each line she ever created, all captured in attractive new images, plus 28 brief essays from students, creditors, curators, and architects.

The definitive booklet at the grande dame of twentieth-century ceramics, this can be an important source for a person who appreciates glossy layout.

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In the general sense of the word, a pastiche is a work in the manner of another artist, which often incorporates more or less punctual borrowings chosen from different originals by this artist. As the copy, it is normally not claimed to be an original, unless it is made, presented or used with a deceptive purpose. Where it differs from its model can be made perceptible or otherwise manifest in various ways. It can even introduce an ironic distance, an element of parody that can be carried by such means as a mocking emphasis on given stylistic features or a marked pompousness in the presentation.

As evidence, she refers to passages in Phædrus and Martial.  Last but not least, let us not omit the support that these four well-established scholars would find from no less a specialist (of his own kind) than the British forger Eric Hebborn. His Art Forger’s Handbook is replete with scholarly references and quotations. At the end of the chapter dealing with artificial ageing, Hebborn introduces the issue of false signatures, then quotes a passage from Cicero’s Letters to Atticus that he implicitly presents as testimony to the hypocrisy of art collectors of all times: We may, if we wish to go further in creating the aura of antiquity, add signatures to our work in what scholars call ‘the deceptive hand’.

The expert should be able to rationalize the issue beyond the private moments of his aesthetic experience and beyond the practical situations in which he is put when a fake is exposed. Cool open-mindedness should not culminate in the mere celebration of the confusing effects of the phenomenon, and fascination may not degenerate into sheer bewilderment. This is not to mention the limits to be set to the analogy between the fake and contemporary art and, above all, the persistent schizophrenia that separates the theoretical and the practical minds (for the same person who lets himself be positively fascinated may well have to bring suit anyway).

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