Faberge eggs
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Sunday, June 19, 2011
Faberge eggs essay
FABERGE EGGS
Jenna Grimbeek
I decided to write about Faberge eggs, the artist, founder and amazing yet devistating history behind them.
It all started in Russia in 1885, with the royal family and a love for Peter Carl Faberge’s jewelled eggs. The founder of the jewelley company was Gustav Faberge (Peter Carl Faberges father) who retired in 1860 and passed his workshop onto his son.
Carl Faberge studied to become a goldsmith for 20 years in England, Germany and France. He then continued to be trained in making Faberge eggs for another 10 years by Hiskia Pendin in his fathers workshop – who was mannaging the workshop after Gustav Faberge retired. After Pendin passed away Carl Faberge was awarded with the title of Master Goldsmith and began to run his fathers company.
In Russia, after the church services on Easter, everyone would gather around to give and receive decorated eggs, this symbolised renewed life and hope. In 1885 the twentieth anniversary of Czar Alexander III and Czarina Maria Fedorvona fell on the day of Easter and so as a gift Czar Alexander III ordered a Faberge egg to be made by Peter Carl Faberge in the Faberge workshop for Czarina Maria. Czarina Maria had noticed his beautiful work and commented on it a few months before the time.
On the morning of Easter Faberge delived the egg to the palace. It seemed to be a simple white enameled egg with a gold band running through the middle, but to the joy of the Empress the egg opened to reveal a golden yolk, in turn this yolk opened to reveal a golden chicken and inside the chicken was a diamond miniture of the royal crown and a tiny ruby egg. Both the crown and the egg have been lost to history through out the years. This faberge egg is knowen as the hen egg.
The empress was so thrilled with the gift that Czar Alexander III asked Faberge to make an egg for her every Easter to come.
Simple rules were layed out for the Faberge eggs to be made, they must all be unique, creatively designed, each egg must open up to reveal a surprise and each must be made and designed in an invetive spirit.
Faberge never let Czar Alexander III down, time and time again he exceeded expectations and presented them with the perfect egg each year by borrowing inspiration from the guiled lives of Czar and Czarina.
After a while Carl Faberge was a welcomed guest to Czar and Czarina and was given freedom to design the eggs on his own. Czar did not even know what the eggs were before receiving the finnished product, he trusted Faberge completely as he had proven himself over the years.
Faberge eggs were made in a very specific way which means that no one, until this day has been able to make an exact replica of origional Faberge egg.
Faberge usually used gold as his base material and so by starting off with a gold sheet of metal he would dome two half egg shapes in a doming block until both halves of the egg met precisely. He would then make two large golden bands (called an outer and inner sleve) these bands ran around the outside and inside of the domes allowing them to clip into each other and fit snugly together.
A hinge was made out of chenier with a supporting pin, which allowed the opening and closing movement of the egg, and in turn a hand made clasp was piecerd out to make opening and closing the egg easier.
The decorations on the eggs obviously differ from egg to egg but they could be carved, engraved, etched or pierced out of plate and then soldered on. Once the basics were done and the egg looked neat, the enamel would be applied. The enamel was Faberges most well kept secret. He mixed his own enamels to create a colour and texture that no one has been able to copy. Enamel is basically a fine glass which you grind down into a powder form and then apply with an earbud tip or a toothpick. Once the enamel colours are in place the item is put in the kiln and the tiny bits of glass all melt together to form a smooth colourful layer. After the enamel was finnished stones cold be set into the golden patterns (eg. Swiss settings and channel settings.)
In 1894 the czar fell ill and he passed away suddenly in the prime of life. His son, Nicholas II accends the throne with deep sorrow and immense fear. He was untrained, un-ready to take on such great reponsibilty and worried what would happen to himself as well as what would happen to Russia. He decided that since he knew so little about running the country he would follow everything his father did. He kept his fathers traditions running not only in Russia but within his family too.
Each year, in remeberance of his father Czar Nicholas oredered a Faberge egg for his mother and his new wife Czarina Alexandra Fedrovona.
In 1900 Faberges eggs were showen to the public in an exhibition, the works of art astonded the jury and the public and Faberge’s fame began to grow. All of a sudden Faberges workshop was flooded with commisions, turning an ordanary workshop into “The House of Faberge.” As Faberge’s fame grew he produced eggs for other people too, including eggs for medical foundations, railways and other important companies to show his gratitude to them for the services they provide. Faberge always saw the Czar and Czarina as his main priority.
Year after year Faberges eggs continued to excell in excelance, these brilliant masterpieces kept becoming more beautiful, more intricate, but eventually they would serve no more than a painful reminder of what was to come.
The fifteenth anniversary egg was the most amazing one yet. A family album 5 inches tall. It contained pictures of the family, wedding, important family events and was the most personal, most accurate egg to match the lives of the Czar and Czarina.
In the fist few months of World War 1 Czar Nicholas tried to keep his county safe from the terrors of the war, but he was no match against Germany and eventually famine set upon their land. The nation was scared, people began to riot and strike for bread and without the support of his people, Czar Nicholas was forced to abdocate his throne in 1917, March the 15th.
The very next day an arrest warrant was put out for the Czar and his entire family. They were taken to Siberia and held captive there for a year. On the icy morning of July 17th, 1918, Maria, Nicholas, Alexandra and their five children (Olga, Tatiana, Maria, Anastasia and Alexei were taken to a basement to be executed.
They all died there that day except for one… Maria, Nicholas’s mother managed to excape and made a hasty departure from her homeland with the order of st. George egg, the last Faberge egg she would ever receive from her son.
At the same time Faberge was forced to flee the county and is said to have died two years later from a broken heart. He lost all he had worked for, his most valuable and cared for customers and friends. It is said that his book of instructions on how to make the faberge eggs and the enamels that he used were buried in Rusia before he fled. He died along with his sectrets and to this day no one can make a replica of an origional Faberge egg.
The faberge eggs were stolen from the palace and placed in the custody of the government at that time, however along the way some got stolen and lost. Today out of the 50 faberge eggs ever made, only 42 remain. Most of them have been sold to different countries now for money. Infact there are more Faberge eggs in America now than there are in Russia itself.
Today origional Faberge eggs are nearly impossible to come by, as there are only 42 left in the world (that we know of.) These eggs are almost impossible to buy as they are so rare, difficult to come by, not many are for sale and they are priceless masterpieces today. Faberge eggs are hugely sought after as a collector’s item, any one who can afford these eggs are very high up and extremely wealthy, most of us could only dream of the honor to see one, let alone own one.
The reason I chose to write about faberge eggs is because they are so unique, special and valuable… That’s what I would like to achieve in my jewellery making one day. I strive to create one of a kind, special and valuable items that have sentimental value to my clients. I find Faberge’s knowledge of jewellery manufacture abosolutly inspiring. I admire his passion for art, studying for 30 years in Russia, England, Germany and France is something to be proud of. I would love to be able to create unique and creative items one day.
The fun, loving and festive spirit the Faberge eggs used to represent is no longer. These eggs are now just a painful reminder of the terrible pain and suffering that that family went through. It reminds us of the greed and evil that this world holds. However they are too an amazing piece of history that the world holds onto until this day.
BIBLIOGRAPHY
Search engine: www.google.com
Web sites visited:
• History of Faberge Eggs: An Easter tradition for the Romanovs become collector's items and tokens of Imperial Russia. | Suite101.com
• http://www.suite101.com/content/fabergeeggs-a1043#ixzz1KFDJskpu
• http://EzineArticles.com/1441478
• http://www.pbs.org/treasuresoftheworld/faberge/fmain.html
Jenna Grimbeek
I decided to write about Faberge eggs, the artist, founder and amazing yet devistating history behind them.
It all started in Russia in 1885, with the royal family and a love for Peter Carl Faberge’s jewelled eggs. The founder of the jewelley company was Gustav Faberge (Peter Carl Faberges father) who retired in 1860 and passed his workshop onto his son.
Carl Faberge studied to become a goldsmith for 20 years in England, Germany and France. He then continued to be trained in making Faberge eggs for another 10 years by Hiskia Pendin in his fathers workshop – who was mannaging the workshop after Gustav Faberge retired. After Pendin passed away Carl Faberge was awarded with the title of Master Goldsmith and began to run his fathers company.
In Russia, after the church services on Easter, everyone would gather around to give and receive decorated eggs, this symbolised renewed life and hope. In 1885 the twentieth anniversary of Czar Alexander III and Czarina Maria Fedorvona fell on the day of Easter and so as a gift Czar Alexander III ordered a Faberge egg to be made by Peter Carl Faberge in the Faberge workshop for Czarina Maria. Czarina Maria had noticed his beautiful work and commented on it a few months before the time.
On the morning of Easter Faberge delived the egg to the palace. It seemed to be a simple white enameled egg with a gold band running through the middle, but to the joy of the Empress the egg opened to reveal a golden yolk, in turn this yolk opened to reveal a golden chicken and inside the chicken was a diamond miniture of the royal crown and a tiny ruby egg. Both the crown and the egg have been lost to history through out the years. This faberge egg is knowen as the hen egg.
The empress was so thrilled with the gift that Czar Alexander III asked Faberge to make an egg for her every Easter to come.
Simple rules were layed out for the Faberge eggs to be made, they must all be unique, creatively designed, each egg must open up to reveal a surprise and each must be made and designed in an invetive spirit.
Faberge never let Czar Alexander III down, time and time again he exceeded expectations and presented them with the perfect egg each year by borrowing inspiration from the guiled lives of Czar and Czarina.
After a while Carl Faberge was a welcomed guest to Czar and Czarina and was given freedom to design the eggs on his own. Czar did not even know what the eggs were before receiving the finnished product, he trusted Faberge completely as he had proven himself over the years.
Faberge eggs were made in a very specific way which means that no one, until this day has been able to make an exact replica of origional Faberge egg.
Faberge usually used gold as his base material and so by starting off with a gold sheet of metal he would dome two half egg shapes in a doming block until both halves of the egg met precisely. He would then make two large golden bands (called an outer and inner sleve) these bands ran around the outside and inside of the domes allowing them to clip into each other and fit snugly together.
A hinge was made out of chenier with a supporting pin, which allowed the opening and closing movement of the egg, and in turn a hand made clasp was piecerd out to make opening and closing the egg easier.
The decorations on the eggs obviously differ from egg to egg but they could be carved, engraved, etched or pierced out of plate and then soldered on. Once the basics were done and the egg looked neat, the enamel would be applied. The enamel was Faberges most well kept secret. He mixed his own enamels to create a colour and texture that no one has been able to copy. Enamel is basically a fine glass which you grind down into a powder form and then apply with an earbud tip or a toothpick. Once the enamel colours are in place the item is put in the kiln and the tiny bits of glass all melt together to form a smooth colourful layer. After the enamel was finnished stones cold be set into the golden patterns (eg. Swiss settings and channel settings.)
In 1894 the czar fell ill and he passed away suddenly in the prime of life. His son, Nicholas II accends the throne with deep sorrow and immense fear. He was untrained, un-ready to take on such great reponsibilty and worried what would happen to himself as well as what would happen to Russia. He decided that since he knew so little about running the country he would follow everything his father did. He kept his fathers traditions running not only in Russia but within his family too.
Each year, in remeberance of his father Czar Nicholas oredered a Faberge egg for his mother and his new wife Czarina Alexandra Fedrovona.
In 1900 Faberges eggs were showen to the public in an exhibition, the works of art astonded the jury and the public and Faberge’s fame began to grow. All of a sudden Faberges workshop was flooded with commisions, turning an ordanary workshop into “The House of Faberge.” As Faberge’s fame grew he produced eggs for other people too, including eggs for medical foundations, railways and other important companies to show his gratitude to them for the services they provide. Faberge always saw the Czar and Czarina as his main priority.
Year after year Faberges eggs continued to excell in excelance, these brilliant masterpieces kept becoming more beautiful, more intricate, but eventually they would serve no more than a painful reminder of what was to come.
The fifteenth anniversary egg was the most amazing one yet. A family album 5 inches tall. It contained pictures of the family, wedding, important family events and was the most personal, most accurate egg to match the lives of the Czar and Czarina.
In the fist few months of World War 1 Czar Nicholas tried to keep his county safe from the terrors of the war, but he was no match against Germany and eventually famine set upon their land. The nation was scared, people began to riot and strike for bread and without the support of his people, Czar Nicholas was forced to abdocate his throne in 1917, March the 15th.
The very next day an arrest warrant was put out for the Czar and his entire family. They were taken to Siberia and held captive there for a year. On the icy morning of July 17th, 1918, Maria, Nicholas, Alexandra and their five children (Olga, Tatiana, Maria, Anastasia and Alexei were taken to a basement to be executed.
They all died there that day except for one… Maria, Nicholas’s mother managed to excape and made a hasty departure from her homeland with the order of st. George egg, the last Faberge egg she would ever receive from her son.
At the same time Faberge was forced to flee the county and is said to have died two years later from a broken heart. He lost all he had worked for, his most valuable and cared for customers and friends. It is said that his book of instructions on how to make the faberge eggs and the enamels that he used were buried in Rusia before he fled. He died along with his sectrets and to this day no one can make a replica of an origional Faberge egg.
The faberge eggs were stolen from the palace and placed in the custody of the government at that time, however along the way some got stolen and lost. Today out of the 50 faberge eggs ever made, only 42 remain. Most of them have been sold to different countries now for money. Infact there are more Faberge eggs in America now than there are in Russia itself.
Today origional Faberge eggs are nearly impossible to come by, as there are only 42 left in the world (that we know of.) These eggs are almost impossible to buy as they are so rare, difficult to come by, not many are for sale and they are priceless masterpieces today. Faberge eggs are hugely sought after as a collector’s item, any one who can afford these eggs are very high up and extremely wealthy, most of us could only dream of the honor to see one, let alone own one.
The reason I chose to write about faberge eggs is because they are so unique, special and valuable… That’s what I would like to achieve in my jewellery making one day. I strive to create one of a kind, special and valuable items that have sentimental value to my clients. I find Faberge’s knowledge of jewellery manufacture abosolutly inspiring. I admire his passion for art, studying for 30 years in Russia, England, Germany and France is something to be proud of. I would love to be able to create unique and creative items one day.
The fun, loving and festive spirit the Faberge eggs used to represent is no longer. These eggs are now just a painful reminder of the terrible pain and suffering that that family went through. It reminds us of the greed and evil that this world holds. However they are too an amazing piece of history that the world holds onto until this day.
BIBLIOGRAPHY
Search engine: www.google.com
Web sites visited:
• History of Faberge Eggs: An Easter tradition for the Romanovs become collector's items and tokens of Imperial Russia. | Suite101.com
• http://www.suite101.com/content/fabergeeggs-a1043#ixzz1KFDJskpu
• http://EzineArticles.com/1441478
• http://www.pbs.org/treasuresoftheworld/faberge/fmain.html
Findings oral - Jenna
Findings
What are findings?
Findings are often overlooked in the jewellery industry. Most people don’t notice findings and the important purpose they serve, however as trained goldsmiths it is very imoprtant for us to understand exactly how useful and important findings are to our work. Findings are small items, manufactured to become one of the most important parts of a jewellery piece. Although findings are small, most items of jewellery could not function without them. They are used to hold something in place and can sometimes form a dual purpose, by looking pretty and being intergrated into the jewellery piece too.
One very imoprtant point to remember about findings is that form follows function- So for example a butterfly (or backing of an earring) is light in weight to make sure it is comfortable to wear. A bail is another example – they needed to design something that went through a jumpring, to attach to a necklace… yet still look nice and feel comfortable.
_____________________________________ LUCE
HINGES
Hinges are often used in jewelley, they allow items to move and open and close (like lockets.) Hinges are gennerally used on lockets, trinket boxes and bangels… but can be used on any item of jewellery to allow movement. TYPES
BAILS
Bails are generally used on pendants. They loop through the jumpring and the chain goes through the bail (Like this PIC) They look more professional than jumprings and can often be decorated to add to the pendants design. TYPES
COLLETS
Collets can be conical shaped and just a solid piece of metal (Like this PIC) or they can have claws which fold over to hold the stone in place. Often with a claw setting galleries are added to allow light in, this brightens the stone up and makes it look more lively. A collet is a place for a stone setting. So once a stone is chosen to set. The metal/ claws on the collet will be pushed over to hold the stone tightly in place.
CRIMP BEADS
These simple, silver beads are used to cover knots in thread or to secure a loop in a necklace or bracelet string, which makes it possible to complete a clasp. These silver beads are made from soft metal, which once in the correct place can be squashed with flat nose pliers (it is important to apply pressure to the bead evenly, inorder not to distort it.) (pass crimp beads arround)
________________________________________ LUCE
JUMP RINGS
I would say the most important, yet most humble finding is the jump ring. We use them all the time, and are so easy to make… We mainly use them to attatch a pendant to a necklace, or to secure a clasp, but they are used for many other things too, such as fake tension settings, earrings, anything that needs a little bit of manoverabilty really.
__________________________________________LUCE
_____________________ROBS
SHEPHERD HOOKS
Shephard hooks must be one of the most well knowen findings.They are a type of earring hook that looks nice, are light, comfortable to wear, practical, don’t require any earring backings and are so easy to make. They are usually made out of sterling silver as many people have allergic reactions to nickel coated wires.
When you buy earring wires, you have a choice between the wire with either a loop on the end, allowing you to do a teardrop design or you can use wire with the flat head ends which support the bead – or string of beads on the length of wire.
_____________________ROBS
We have spoken all about the most common findings, the things we use a lot and make, but I thought I would add this slide in, just to show you how wide the range of findings really is. Here we have Shoe clips, these work off hinges and you close them over a shoe if you want to add decorations to your shoes. Then we have beadable pen, we have suspender clips (also working off hinges) and last but not least we have cufflinks – Lucinda is going to tell you more about those.
________________________________________________LUCE
What are findings?
Findings are often overlooked in the jewellery industry. Most people don’t notice findings and the important purpose they serve, however as trained goldsmiths it is very imoprtant for us to understand exactly how useful and important findings are to our work. Findings are small items, manufactured to become one of the most important parts of a jewellery piece. Although findings are small, most items of jewellery could not function without them. They are used to hold something in place and can sometimes form a dual purpose, by looking pretty and being intergrated into the jewellery piece too.
One very imoprtant point to remember about findings is that form follows function- So for example a butterfly (or backing of an earring) is light in weight to make sure it is comfortable to wear. A bail is another example – they needed to design something that went through a jumpring, to attach to a necklace… yet still look nice and feel comfortable.
_____________________________________ LUCE
HINGES
Hinges are often used in jewelley, they allow items to move and open and close (like lockets.) Hinges are gennerally used on lockets, trinket boxes and bangels… but can be used on any item of jewellery to allow movement. TYPES
BAILS
Bails are generally used on pendants. They loop through the jumpring and the chain goes through the bail (Like this PIC) They look more professional than jumprings and can often be decorated to add to the pendants design. TYPES
COLLETS
Collets can be conical shaped and just a solid piece of metal (Like this PIC) or they can have claws which fold over to hold the stone in place. Often with a claw setting galleries are added to allow light in, this brightens the stone up and makes it look more lively. A collet is a place for a stone setting. So once a stone is chosen to set. The metal/ claws on the collet will be pushed over to hold the stone tightly in place.
CRIMP BEADS
These simple, silver beads are used to cover knots in thread or to secure a loop in a necklace or bracelet string, which makes it possible to complete a clasp. These silver beads are made from soft metal, which once in the correct place can be squashed with flat nose pliers (it is important to apply pressure to the bead evenly, inorder not to distort it.) (pass crimp beads arround)
________________________________________ LUCE
JUMP RINGS
I would say the most important, yet most humble finding is the jump ring. We use them all the time, and are so easy to make… We mainly use them to attatch a pendant to a necklace, or to secure a clasp, but they are used for many other things too, such as fake tension settings, earrings, anything that needs a little bit of manoverabilty really.
__________________________________________LUCE
_____________________ROBS
SHEPHERD HOOKS
Shephard hooks must be one of the most well knowen findings.They are a type of earring hook that looks nice, are light, comfortable to wear, practical, don’t require any earring backings and are so easy to make. They are usually made out of sterling silver as many people have allergic reactions to nickel coated wires.
When you buy earring wires, you have a choice between the wire with either a loop on the end, allowing you to do a teardrop design or you can use wire with the flat head ends which support the bead – or string of beads on the length of wire.
_____________________ROBS
We have spoken all about the most common findings, the things we use a lot and make, but I thought I would add this slide in, just to show you how wide the range of findings really is. Here we have Shoe clips, these work off hinges and you close them over a shoe if you want to add decorations to your shoes. Then we have beadable pen, we have suspender clips (also working off hinges) and last but not least we have cufflinks – Lucinda is going to tell you more about those.
________________________________________________LUCE
romanticism and realism oral - Jenna
Romanticism origionated in the second half of the 18th century and ended in the mid 19th century.
Romanticism was basically a reaction against Neoclassicism, it is a deeply-felt style which is individualistic, beautiful and exotic.
During the romanticism movement, the artists believed that the expression of the emotional drama of the moment was the most important issue in their art.
One of the most important and useful ways of creating this emotion was by using colour. Line was not as precise as it was in Neo-Classicim any more and brush strokes became loser.
The paintings were always filled with emotion and drama. The emotional connection that the artist had with his/her painting was seen as a hugely important aspect of the paining too. Sometimes the rough sketch of the painting (before the artist did the final painting) had more of an emotional connection in it, which is why often the rough work of an artist had great value to it too.
The Romanticist seemed to preffer a subject matter with lots of movement, always dramatic, full of emotion and often exotic.
Strange stories from far away places and hostorical episodes in countries other than Europe were favoured. Often exotic animals would be painted (which came out completely wrong as the artist had never actually seen the creature before.)
Gericault and Delacroix were two well knowen romantic artists, there paintings were full of energetic brush strokes, rich colours and emotive subjuct matters.
Friederich (also a romantic painter) painted landscapes and created images of solitary loneliness. And in Spain Goya painted about the horrors of war.
All af these artists had such different subject matter, but the emphasis was put on the drama and emotion in all of the art works.
Salon (Paris)
•
In 1674 the first exhibition was held at the Salon. The salon orrigionally focused on displaying artworks of recent graduates from the Ecole des Beaux of Arts. But an exhibition at the Salon was essential for any artist to become succesful in France for about the next 200 years. The salon marked a sign of royal favour.
In 1737 the exhibitions became public and were held at first, annually and the biannually in odd number years. They would start on the 25th of August and would run for a few weeks.The Salons reputation was never questioned and in 1748 a jury of awarded artists were introduced to judge which paintings were to be displayed and who got medals for their work.
The Salon exhibited paintings in every possible space (from the floor to the celing.)
The French revolution then opened the exhibition to foreign artists too and later artists were allowed to exhibit sculptures and paintings involving womens body parts. The conservative judges did not like this at all and usaully rejected these artworks, however if they were accepted they would be given a place on the wall too high up to really be noticed.
In 1863 the Salon turned away so many artworks that resulted in an uproar. The artits eventually held exhibitions of their own.
KAT 2 artists
This is Theodore Gericault, he was born in 1791 and died in 1824 at the young age of 32.
He was a very influential French artist, painter and lithographer. His most well knowen artwork is The Raft of the Medusa.
Although he died young, he became well known as a part of the romantic movement.
The Raft of the Medusa (1819)
The raft of Medusa is seen as one of Gericault’s most significant and ambitious works of art. The painting displays a raft of survivors from a french shipwreck (Meduse was the name of the ship.) the captain had abbandoned the ship and left the crew and passengers to die. This shipwreck and the stories that came from it became a national scandal. This painting did not only show the pain and struggle of the survivors, but it also shows the struggle man has with nature. Delacroix actually posed as one of the dying figures for Gericault.
((((The structure of the raft and shape of the people clash with that of the flowing water. ))))
Kat
REALISM kat
Courbet was born in 1819 and died in 1877.
He was a French painter who led the realist movement in the 19th century.
Growing up, his first models for drawing and painting were his 3 sisters. After moving to Paris in 1839, he would return home to hunt, fish and find new inspiration for his art. For a short while he worked at the studio of Steuben and Hesse, but he felt too restricted as he was a free spirited man. He wanted to develop his own style and so he left to study paintings done by Spanish, Flemish and French artists.
Courbet was very bold and individualistic in his artwork, he broke the rules and his artwork stood out, made a statement.
“ I am fifty years old and I have always lived in freedom; let me end my life free; when I am dead let this be said of me: 'He belonged to no school, to no church, to no institution, to no academy, least of all to any régime except the régime of liberty.'
Courbet painted landscapes, still-lifes and seascapes. He painted subjects that were considered vulgar, such as peasants, the working conditions of the poor and naked European women. He said he did not want to be tied down by rules, he wanted to be a free man and so painted any subject matter he wanted.
Courbet believed that the artists of one century are incapable of painting a realistic version of a past of future century, as the artist himself would not have experienced that style and inspiration first hand. He said that the only possible source for a living art is the artists own experience.
For courbet – realisim did not deal with perfect lines and form, instead rough handeling of paint was used… free flowing lines and bristel texture made the image more personal to the artist.
One of what I would call, the most important parts of Courbets art career happened in 1849. He became looked up to after his painting After dinner at Ornans at the Salon in 1849 – infact this work earned him a gold medal (meaning he no longer neede to approval of the judges to display his work there.) Now… obviously courbet (being a free, bold spirit) took advantage of this until 1857, when the rule changed.
STONE-BREA0KERS
This was painted in 1849, it was admired by some as an icon of peasent life, and by others it was frowned upon. The painting was inspired by a scene Courbet witnessed on the roadside – he said "It is not often that one encounters so complete an expression of poverty and so, right then and there I got the idea for a painting. I told them to come to my studio the next morning."
A burial at Ornans
This painting is Massive… its 314x663cm it was painted in 1849-1850 and was displayed in the Salon in 1850-1851, it caused a huge explosion and immediate fame to Courbet.
They say this painting is a recording of his grandfathers funeral which he attended a year before painting this. The people in the painting were the actual people at his grandfather’s funeral. Courbet said this personalised it and made the painting realistic, exactly how it was.
The scale of the painting drew lots of attention as usually a painting that size would be a religious one.
It was said: The burial at Ornans was in reality the burial of romanticism.
The artist’s studio 359x598cm
In 1855 Courbet submitted 14 paintings for exhibition at Exposition Universelle, but three were rejected due to a lack of space (including burial at ornanas and the artists studio.) … so once again Courbet being Courbet took things into his own hands and simply decided to open his own gallery called The Pavilion of realism and there he displayed 40 of his own paintings. The funny part is that this gallery he created for him self was a tempory structure which he put RIGHT next to the Exposition Universelle exhibition. Just to get under their skin.
Needless to say – Courbet became a hero to the younger generation and this painting was described as a masterpiece by Delacroix.
PAINTING
Courbet painted his life as a painter- an heroic venture. He is surrounded by friends and admirers (right) such as art critics and the art collector… and challenges and opposition (left) such as grave digger, priest, prostitute, merchant and others.
The man on the left with the dogs- courbet did not tell anyone who he was or why he was painted in… but xrays show that he was infact painted in later and has been recognised as the french emperor, Napoleon 3rd. Identified by the hunting dogs and his twirly mastache. By placing him on the left Courbet publicly shows his dislike for the emporer and depicts him as a criminal, suggesting his rule over France as illegal.
The Artist's Studio (L'Atelier du peintre): A Real Allegory of a Seven Year Phase in my Artistic and Moral Life, 1855, 359 × 598 cm (141.33 × 235.43 in), oil on canvas, Musée d'Orsay, Paris
During the 1860’s Courbet painted a series of rather erotic paintings. One of these paintings was Sleep- displayed here. This painting just shows how much Courbet bent the rules. As Kat said earlier it was not seen as ok to paint European women naked – but here… He did! And not just naked – clearly getting up to some mischief too. The reason I put this painting in the presentation was to emphasise exactly how far Courbet bent the rules – and very often broke them. This is still (today) knowen as one of the most beautiful nudes in art history.
KAT
Millet was born in 1814 and died in 1875,He was born to a family of peasant. Millet acquired a knowledge of Latin and modern literature under the guidence of two priests. He was sent to study with a portrait painter in 1833 and then in 1835 was sent to study full time with an artist named Langlois. Langlois and a few others mannaged to provide Millet with a scholarship and enough money to move to Paris. He studied at the Ecole des Beaux of Arts with Delaroche. In 1839 his scholarship was termonated and his first submission into the salon was rejected.
A year later a portrait of his was accepted into the salon, he married to a women named Pauline who died a mere 3 years later of consumption. Millets paintings kept getting rejected from the Salon and so he moved to LeHavre with his new fiance Catherine, whome he married in 1853 and had 9 children with. He moved back to Paris with his family once again.
In 1848 Millets painting (the captivity of the Jews in Babylon) was unveiled at the Salon. Art critcs and the public had a negative reaction towards it and the painting was never seen again.
THE SOWER
In 1850 Millet exhibited the sower at the Salon. Millet displayed the working class in his paintings, very realistic.
From 1850 to 1853 he worked on a painting called Harvesters resting. It was displayed at the Salon in 1853 and he received a second-class medal for it. It is said to be the painting that marked his transition from living a peasant life to that of contempory social conditions. It was the only painting he ever dated and the only one to gane him official recognition.
THE GLEANERS
This is Millets most well knowen painting, it was painted in 1857. He went home to visit the land that he grew up in and whilst wondering around the fields – one memory kept popping up… It was the memory of the women and children, having to scan the fields for leftover grain and pick it all up after the Harvest was over. He found the theme was not only memories of his own, but linked to the stories of the Old Testament. He displayed the painting in the salon to an angry public as it was not seen as right to display such a low class to the mid-upper class society.
The golden light in the painting creates a magical, sacred feel to his homelamd… even though those fields were the ones that they used to work so hard in and stuggle to stay alive, it looks so peaceful and calming. There is a movement to the painting too- the lines from the womens backs, to the floor and back up again give you the sense of repitition.
Romanticism was basically a reaction against Neoclassicism, it is a deeply-felt style which is individualistic, beautiful and exotic.
During the romanticism movement, the artists believed that the expression of the emotional drama of the moment was the most important issue in their art.
One of the most important and useful ways of creating this emotion was by using colour. Line was not as precise as it was in Neo-Classicim any more and brush strokes became loser.
The paintings were always filled with emotion and drama. The emotional connection that the artist had with his/her painting was seen as a hugely important aspect of the paining too. Sometimes the rough sketch of the painting (before the artist did the final painting) had more of an emotional connection in it, which is why often the rough work of an artist had great value to it too.
The Romanticist seemed to preffer a subject matter with lots of movement, always dramatic, full of emotion and often exotic.
Strange stories from far away places and hostorical episodes in countries other than Europe were favoured. Often exotic animals would be painted (which came out completely wrong as the artist had never actually seen the creature before.)
Gericault and Delacroix were two well knowen romantic artists, there paintings were full of energetic brush strokes, rich colours and emotive subjuct matters.
Friederich (also a romantic painter) painted landscapes and created images of solitary loneliness. And in Spain Goya painted about the horrors of war.
All af these artists had such different subject matter, but the emphasis was put on the drama and emotion in all of the art works.
Salon (Paris)
•
In 1674 the first exhibition was held at the Salon. The salon orrigionally focused on displaying artworks of recent graduates from the Ecole des Beaux of Arts. But an exhibition at the Salon was essential for any artist to become succesful in France for about the next 200 years. The salon marked a sign of royal favour.
In 1737 the exhibitions became public and were held at first, annually and the biannually in odd number years. They would start on the 25th of August and would run for a few weeks.The Salons reputation was never questioned and in 1748 a jury of awarded artists were introduced to judge which paintings were to be displayed and who got medals for their work.
The Salon exhibited paintings in every possible space (from the floor to the celing.)
The French revolution then opened the exhibition to foreign artists too and later artists were allowed to exhibit sculptures and paintings involving womens body parts. The conservative judges did not like this at all and usaully rejected these artworks, however if they were accepted they would be given a place on the wall too high up to really be noticed.
In 1863 the Salon turned away so many artworks that resulted in an uproar. The artits eventually held exhibitions of their own.
KAT 2 artists
This is Theodore Gericault, he was born in 1791 and died in 1824 at the young age of 32.
He was a very influential French artist, painter and lithographer. His most well knowen artwork is The Raft of the Medusa.
Although he died young, he became well known as a part of the romantic movement.
The Raft of the Medusa (1819)
The raft of Medusa is seen as one of Gericault’s most significant and ambitious works of art. The painting displays a raft of survivors from a french shipwreck (Meduse was the name of the ship.) the captain had abbandoned the ship and left the crew and passengers to die. This shipwreck and the stories that came from it became a national scandal. This painting did not only show the pain and struggle of the survivors, but it also shows the struggle man has with nature. Delacroix actually posed as one of the dying figures for Gericault.
((((The structure of the raft and shape of the people clash with that of the flowing water. ))))
Kat
REALISM kat
Courbet was born in 1819 and died in 1877.
He was a French painter who led the realist movement in the 19th century.
Growing up, his first models for drawing and painting were his 3 sisters. After moving to Paris in 1839, he would return home to hunt, fish and find new inspiration for his art. For a short while he worked at the studio of Steuben and Hesse, but he felt too restricted as he was a free spirited man. He wanted to develop his own style and so he left to study paintings done by Spanish, Flemish and French artists.
Courbet was very bold and individualistic in his artwork, he broke the rules and his artwork stood out, made a statement.
“ I am fifty years old and I have always lived in freedom; let me end my life free; when I am dead let this be said of me: 'He belonged to no school, to no church, to no institution, to no academy, least of all to any régime except the régime of liberty.'
Courbet painted landscapes, still-lifes and seascapes. He painted subjects that were considered vulgar, such as peasants, the working conditions of the poor and naked European women. He said he did not want to be tied down by rules, he wanted to be a free man and so painted any subject matter he wanted.
Courbet believed that the artists of one century are incapable of painting a realistic version of a past of future century, as the artist himself would not have experienced that style and inspiration first hand. He said that the only possible source for a living art is the artists own experience.
For courbet – realisim did not deal with perfect lines and form, instead rough handeling of paint was used… free flowing lines and bristel texture made the image more personal to the artist.
One of what I would call, the most important parts of Courbets art career happened in 1849. He became looked up to after his painting After dinner at Ornans at the Salon in 1849 – infact this work earned him a gold medal (meaning he no longer neede to approval of the judges to display his work there.) Now… obviously courbet (being a free, bold spirit) took advantage of this until 1857, when the rule changed.
STONE-BREA0KERS
This was painted in 1849, it was admired by some as an icon of peasent life, and by others it was frowned upon. The painting was inspired by a scene Courbet witnessed on the roadside – he said "It is not often that one encounters so complete an expression of poverty and so, right then and there I got the idea for a painting. I told them to come to my studio the next morning."
A burial at Ornans
This painting is Massive… its 314x663cm it was painted in 1849-1850 and was displayed in the Salon in 1850-1851, it caused a huge explosion and immediate fame to Courbet.
They say this painting is a recording of his grandfathers funeral which he attended a year before painting this. The people in the painting were the actual people at his grandfather’s funeral. Courbet said this personalised it and made the painting realistic, exactly how it was.
The scale of the painting drew lots of attention as usually a painting that size would be a religious one.
It was said: The burial at Ornans was in reality the burial of romanticism.
The artist’s studio 359x598cm
In 1855 Courbet submitted 14 paintings for exhibition at Exposition Universelle, but three were rejected due to a lack of space (including burial at ornanas and the artists studio.) … so once again Courbet being Courbet took things into his own hands and simply decided to open his own gallery called The Pavilion of realism and there he displayed 40 of his own paintings. The funny part is that this gallery he created for him self was a tempory structure which he put RIGHT next to the Exposition Universelle exhibition. Just to get under their skin.
Needless to say – Courbet became a hero to the younger generation and this painting was described as a masterpiece by Delacroix.
PAINTING
Courbet painted his life as a painter- an heroic venture. He is surrounded by friends and admirers (right) such as art critics and the art collector… and challenges and opposition (left) such as grave digger, priest, prostitute, merchant and others.
The man on the left with the dogs- courbet did not tell anyone who he was or why he was painted in… but xrays show that he was infact painted in later and has been recognised as the french emperor, Napoleon 3rd. Identified by the hunting dogs and his twirly mastache. By placing him on the left Courbet publicly shows his dislike for the emporer and depicts him as a criminal, suggesting his rule over France as illegal.
The Artist's Studio (L'Atelier du peintre): A Real Allegory of a Seven Year Phase in my Artistic and Moral Life, 1855, 359 × 598 cm (141.33 × 235.43 in), oil on canvas, Musée d'Orsay, Paris
During the 1860’s Courbet painted a series of rather erotic paintings. One of these paintings was Sleep- displayed here. This painting just shows how much Courbet bent the rules. As Kat said earlier it was not seen as ok to paint European women naked – but here… He did! And not just naked – clearly getting up to some mischief too. The reason I put this painting in the presentation was to emphasise exactly how far Courbet bent the rules – and very often broke them. This is still (today) knowen as one of the most beautiful nudes in art history.
KAT
Millet was born in 1814 and died in 1875,He was born to a family of peasant. Millet acquired a knowledge of Latin and modern literature under the guidence of two priests. He was sent to study with a portrait painter in 1833 and then in 1835 was sent to study full time with an artist named Langlois. Langlois and a few others mannaged to provide Millet with a scholarship and enough money to move to Paris. He studied at the Ecole des Beaux of Arts with Delaroche. In 1839 his scholarship was termonated and his first submission into the salon was rejected.
A year later a portrait of his was accepted into the salon, he married to a women named Pauline who died a mere 3 years later of consumption. Millets paintings kept getting rejected from the Salon and so he moved to LeHavre with his new fiance Catherine, whome he married in 1853 and had 9 children with. He moved back to Paris with his family once again.
In 1848 Millets painting (the captivity of the Jews in Babylon) was unveiled at the Salon. Art critcs and the public had a negative reaction towards it and the painting was never seen again.
THE SOWER
In 1850 Millet exhibited the sower at the Salon. Millet displayed the working class in his paintings, very realistic.
From 1850 to 1853 he worked on a painting called Harvesters resting. It was displayed at the Salon in 1853 and he received a second-class medal for it. It is said to be the painting that marked his transition from living a peasant life to that of contempory social conditions. It was the only painting he ever dated and the only one to gane him official recognition.
THE GLEANERS
This is Millets most well knowen painting, it was painted in 1857. He went home to visit the land that he grew up in and whilst wondering around the fields – one memory kept popping up… It was the memory of the women and children, having to scan the fields for leftover grain and pick it all up after the Harvest was over. He found the theme was not only memories of his own, but linked to the stories of the Old Testament. He displayed the painting in the salon to an angry public as it was not seen as right to display such a low class to the mid-upper class society.
The golden light in the painting creates a magical, sacred feel to his homelamd… even though those fields were the ones that they used to work so hard in and stuggle to stay alive, it looks so peaceful and calming. There is a movement to the painting too- the lines from the womens backs, to the floor and back up again give you the sense of repitition.
Ancient china notes (Jenna)
Zhou Dynasty
1046 – 256 BC
• The Zhou Dynasty is said to be the longest lasting Dynasty in Chinese history.
What is the Zhou Dynasty?
A dynasty is basically a rulling family, generally (but not always) the power to rule would be handed down to the eldest son. There were many different rulling families in China throughout history, such as the mings, the shangs, the Qins and many others.
We will be focusing on the Zhou dynasty this lesson.
The Zhou dynasty covered a massive area of land, too large for the Zhou dynasty to handle because of lack of communication.
So the Zhou leaders decided to get people to watch over different territories of their land. The leader of each of these territories were the lords, receiving their title trough inheritance, next in importance were the fighting men, followed by the peasants and then eventually the domestic slaves.
Eventually these territories became more and more independent, until they had nothing to do with the Zhou Dynasty anymore.
At that time the Zhou dynasty was based on agricultural production and so the land of the lords was divided up into 3 by 3 squares, with the 8 outer squares being worked on by peasants (to grow crops.) No one really knows how much land was separated like this, but the lords found that it was the easiest way for them to look after their territories.
Religion
The Zhou kings believed that they were given the right to rule the lands by the heavens. The kings prayed and sacrificed to Shang Ti (meaning the lord on high) and to their ancestors.
The lords of the land prayed to the nature gods and their ancestors and they believed that if one of them forgot to worship and pray, misfortune would be cast upon them by the gods.
Eastern Zhou
Eventually the Zhou kings lost control of their land. The territories began to rebel along with non-Chinese forces and defeated the Zhou capital. During this the Zhou king was killed, but his son was saved and his son moved further to the east where he formed a new capital. The eastern state was devided into two time periods… the spring and autum period and the period of the warring states. the Zhou king gave up their military and political control over their territories in 770 BC.
Even though the Zhou had given their rights to the land away, they still believed that they were appointed by the heavens above and continued to be the ceremonial lords of the kingdoms.
There was constant warfare between territories, but never the less there was great economic growth.
The iron age
With the iron age, China got iron-tipped ox drawn plows… This improved irrigation techniques, which increased their agriculture and attracted more people to add to their population.
With more population came more wealth. People started becoming merchants and traders, this in turn improved communication skills and eventually communication through horseback became possible. This made life much easier for the lords as they could now watch over all their land and if a problem arose, could attend to it immediately.
The period of the warring states (475-221 BC)
The time period of the warring states is considered the classical age. The time of great philosophers (sometimes called the One Hundred Schools Period). Some of the most memorable poetry was written in this time.
The territories along the edges of the Zhou empire became non-Chinese countries. As the Zhou population got larger and grew in culture, it became more and more diverse. These kingdoms began to accept the new culture as their own.
One of these kingdoms was the Mounted Cavalry…
By the 6th century, several very powerful states arose from what once was Zhou territory. With the Zhou dynasty’s decline and the rise of power from the former territories, the situation in China became unstable. By the 5th century, all of the territories began to fight one another for what they believed in, as well as for power. This became known as the period of the warring states.
INTERESTING FACT
• The earliest armour known to be worn by the Chinese warriors (in the time of the shang dynasty, before the Zhou dynasty) was a light plated armour made from turtle shells, tied together with cords.
• As time went on, improvements were made and in the time of the Zhou dynasty’s reign the armour was made from leather. ( the hide came from buffalo and rhinoceros) here are some images of the armour they used to wear.
_____________________________________________________________________
1046 – 256 BC
• The Zhou Dynasty is said to be the longest lasting Dynasty in Chinese history.
What is the Zhou Dynasty?
A dynasty is basically a rulling family, generally (but not always) the power to rule would be handed down to the eldest son. There were many different rulling families in China throughout history, such as the mings, the shangs, the Qins and many others.
We will be focusing on the Zhou dynasty this lesson.
The Zhou dynasty covered a massive area of land, too large for the Zhou dynasty to handle because of lack of communication.
So the Zhou leaders decided to get people to watch over different territories of their land. The leader of each of these territories were the lords, receiving their title trough inheritance, next in importance were the fighting men, followed by the peasants and then eventually the domestic slaves.
Eventually these territories became more and more independent, until they had nothing to do with the Zhou Dynasty anymore.
At that time the Zhou dynasty was based on agricultural production and so the land of the lords was divided up into 3 by 3 squares, with the 8 outer squares being worked on by peasants (to grow crops.) No one really knows how much land was separated like this, but the lords found that it was the easiest way for them to look after their territories.
Religion
The Zhou kings believed that they were given the right to rule the lands by the heavens. The kings prayed and sacrificed to Shang Ti (meaning the lord on high) and to their ancestors.
The lords of the land prayed to the nature gods and their ancestors and they believed that if one of them forgot to worship and pray, misfortune would be cast upon them by the gods.
Eastern Zhou
Eventually the Zhou kings lost control of their land. The territories began to rebel along with non-Chinese forces and defeated the Zhou capital. During this the Zhou king was killed, but his son was saved and his son moved further to the east where he formed a new capital. The eastern state was devided into two time periods… the spring and autum period and the period of the warring states. the Zhou king gave up their military and political control over their territories in 770 BC.
Even though the Zhou had given their rights to the land away, they still believed that they were appointed by the heavens above and continued to be the ceremonial lords of the kingdoms.
There was constant warfare between territories, but never the less there was great economic growth.
The iron age
With the iron age, China got iron-tipped ox drawn plows… This improved irrigation techniques, which increased their agriculture and attracted more people to add to their population.
With more population came more wealth. People started becoming merchants and traders, this in turn improved communication skills and eventually communication through horseback became possible. This made life much easier for the lords as they could now watch over all their land and if a problem arose, could attend to it immediately.
The period of the warring states (475-221 BC)
The time period of the warring states is considered the classical age. The time of great philosophers (sometimes called the One Hundred Schools Period). Some of the most memorable poetry was written in this time.
The territories along the edges of the Zhou empire became non-Chinese countries. As the Zhou population got larger and grew in culture, it became more and more diverse. These kingdoms began to accept the new culture as their own.
One of these kingdoms was the Mounted Cavalry…
By the 6th century, several very powerful states arose from what once was Zhou territory. With the Zhou dynasty’s decline and the rise of power from the former territories, the situation in China became unstable. By the 5th century, all of the territories began to fight one another for what they believed in, as well as for power. This became known as the period of the warring states.
INTERESTING FACT
• The earliest armour known to be worn by the Chinese warriors (in the time of the shang dynasty, before the Zhou dynasty) was a light plated armour made from turtle shells, tied together with cords.
• As time went on, improvements were made and in the time of the Zhou dynasty’s reign the armour was made from leather. ( the hide came from buffalo and rhinoceros) here are some images of the armour they used to wear.
_____________________________________________________________________
Saturday, June 4, 2011
MARMITE
BRILLIANT>>>>> We all know marmite really stinks, but for an ad to say it like that, it just makes you want to buy it because its so funny.
Shocker
Complete shocker!!!!!! What was she thinking? It looks like she has just climbed out of a garbage patch.
Pandora
Pandora bracelets just take the charm bracelets to a whole new level. They are personal and sentimental, things can be taken off and added - yet it still looks classy.
seatbelts
This is such a smart ad - its funny, effective and makes you very aware... because a slingshot describes what happens to you in an accident so well. definatly gets the message accross.
eye jewellery
I cant decide if i like this or not... it completely boggles my mind and amazes me, yet at the same time it entirely grosses me out. Very different, very odd. I have never seen this before, but i definatly wont forget it.
EARRINGS
I like these earrings because they are arty, look stunning, can be worn with almost anything. You could dress them up or down and you could wear them to any occasion. Simple, yet stand out.
Rings
I dont like these at all, they dont only look cheap, but they are completely overdone and just look terrible over all, not well made, nor are they well designed.
Jewellery
I really like these. They are adventurous, fun, unique and very creative. My hat goes off to the designer.
James Brown
This is such a cool poster. I think its so clever how the words are used to make up his face, and the words (especially soul) describe both him and his music so well. I also enjoy the explosion of wording behind him, basically sending a message to the viewer, saying the concert is going to blow u away, its going to be a huge explosion.
Wednesday, April 6, 2011
Steampunk jewellery
I adore this ring. I love the way it is complicated, yet so simple at the same time. The design on the shank is wonderful... the curving lines and the patterns compliment the watch mechanism so well.
steampunk
I dont like this item of jewellery. I think it looks too overdone. The stone just destroys the piece for me. it makes it look cheap and detracts from the creativity behind it.
advertisments
I think that this advert is AWESOME. its very affective, exciting and definatly grabs your attention.
I love the way the poster is displayed over a tunnel and looks like its eating the cars. Amazing!
advertisments
I dislike this advertimesnt. I find it insensitive and crude. It definatly gets the point accross, but in my eyes - its not acceptable, i find it way too harsh.
Wednesday, March 9, 2011
Design theory
INFECTING THE CITY...
This is the jewellery we made out of recycled materials... This image does include rings done by the rest of the class, all the jewellery made from bottle caps are ours.
Sunday, March 6, 2011
mesmerizing
NOW THIS RING!!!! WOW.
I LOVE IT!
This ring, although covered in stones, looks stunning, so elegant yet bold and vibrant. How unique and special. This is an awesome ring. The design is mesmerizing, i find myself staring at it trying to work it out, yet there isnt anything complicated about it. It is simply a stunning ring that is so oringional it takes you by suprise.
dragonfly
I think that this item of jewellery is very cute, however i dislike it and this is because -in my eyes- it is over done. too many stones make things look cheap and over the top to me. i think this item would look better with only one or two stones instead of so many.
It would look more valuable and much prettier.
building
I do not like this building.
The reason for this is that to me it looks like the base of the building and the roof just dont match. It looks like someone just dumped this stunning roof onto a blob of cement and bricks.
From a design point of view i think that this building could have looked much better with some more effort and creativity put into the walls and base.
ancient architecture
This caught my eye immediatly. I love the amount of detail in this amazing piece of architecture. Every time you look at this stunning piece of art there is more to look at. You never see all the detail and you could just atare at it for hours. What awesome craftsmanship.The statues. the paintings and look at all of those faces... its simply amazing. I adore this picture and only wish i could see it in real life.
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