Geometry.Net - Composers: Glass Louis

Morse Museum [Louis Comfort Tiffany]
The Charles Hosmer Morse Museum of American Art is widely known for its collection of stained glass Category Arts Art History Artists T Tiffany, Louis Stained GlassFEEDING THE FLAMINGOES, c. 1892 Leaded glass louis Comfort Tiffany(18481933). Louis Comfort Tiffany, one of the most creative and
http://www.morsemuseum.org/louis.html

Extractions: Louis Comfort Tiffany, one of the most creative and prolific designers of the late 19th century, declared that his life-long goal was "the pursuit of beauty." With its comprehensive assemblage of Tiffany's work, the Morse Museum's collection uniquely documents that quest. Although his father, Charles Lewis, had founded the most prestigious silver and jewelry company in America, Louis chose another professional direction. Originally trained as a painter, he began studying the chemistry and techniques of glassmaking when he was 24. He developed this interest as a partner in the firm of Louis C. Tiffany and Associated Artists, which in its four years of operation (1879-1883) provided innovative interior decoration for clients ranging from Mark Twain in Hartford, Connecticut to President Chester Arthur at the White House. Both schools thought that they alone were being "truthful," an ideal central to the philosophy of the Arts and Crafts movement. Equally important was the goal of design unity. First manifested in his efforts to create complete interiors, Tiffany's commitment to unity was extended to the design and manufacture of stained glass. The leading necessary to hold the pieces of glass together became a fully integrated design element, simulating, for example, the stems of plants. And Tiffany was convinced that the actual production of a stained-glass window required the artist's involvement at every stage, even in a factory setting-from creating the first sketches to overseeing how the glass was selected, cut and assembled.
Glass Louis Quartets: Classical CD Reviews-June 2000 Music On The Web(UK)
LOUIS GLASS (18641936) String Quartet No. 2 in A Minor op. 23 (1896rev 1929) 32.38 String Quartet No. 4 in F Sharp Minor op. 35
http://www.musicweb.uk.net/classrev/2000/june00/glass.htm

Extractions: rec Danish Radio 1998 DA CAPO MARCO POLO 8.224048 Glass took a different, and for his music less successful, route from his contemporary and countryman Carl Nielsen. Glass with a strong creative faculty, and no mean tunesmith, occupied the late-romantic territory. He could not be considered a modernist. Glass is a confident exponent of the heartland established by Tchaikovsky and Grieg. He might well be regarrded as a reaxctionary but his way with thematic invention is strong and individualistic. There are four Glass string quartets of which the 'true' no. 2 has been lost. The one labelled no. 2 on this disc was in fact the third. First written in 1896 it was reworked in 1929. Whatever the number the A Minor work is tenebrous, romantic, but not one of blooming confidence. The mood is twilit and on the darker margins of twilight. You may think of Grieg but with an early 20th century accent. At times the music seems to picture a populated street palely lit by candles and humming with amorous intrigue and threat. The quartet strikes the listener more as an exploration of mood rather than a grand propulsive musical statement. In the finale a Brucknerian tension (lit up by some taut and quiet writing) is undeniable.
Thumbnail Page Stained Glass Louis Comfort Tiffany 2
Stained glass louis Comfort Tiffany 2 Click Look Closer button for larger view,price dimensions Bull2.gif (924 bytes) Go to the Next Page in This Series
http://www.museumshoppe.com/Thumbnail_LCTiffany2.htm
Corner Desk W/glass LOUIS Grey
Corner desk w/glass louis Item SS7209GT-GR Reference 52-03-10 30-GreyMetal corner desk with tempered glass top. W 61 D 61 H
http://www.structube.com/Bureaux/BureauEnVerreLouisA.htm
Corner Desk W/glass LOUIS Grey Zoom
Click for description
http://www.structube.com/Bureaux/BureauEnVerreLouisZoomA.htm
Louis Glass
LOUIS GLASS (18641936). Louis Glass havde med sin baggrund som både cellistog pianist alle forudsætninger for at skrive værker i denne genre.
http://www.dr.dk/goldendays/glass.htm
Glass Louis: Symph No 5 & 6 Defini Non
glass louis Symph No 5 6 Defini Non. Auteur Defini Non. Titre GlassLouis Symph. No. 5 6. Rubriques CD audio Rubriques 2 Classique
http://www.votre-livre-shop.com/Defini-Non-Glass-Louis-Symph-No-5-6-B000024OHP.h
Stained Glass Windows Of Jersey City, NJ
07306 Tel 201.433.1815 Year Erected 1841 Architects William Kirk, Clark VanNest Stained glass louis Comfort Tiffany (memorial sanctuary window); JR Lamb
http://www.jerseycityhistory.net/stainedglass.html
Glass, Louis (1864 - 1936
Comparison of the composer with Carl Nielsen and mention of his students. Includes recommended recording.Category Arts Music Composition Composers G glass, louisglass, louis (1864 1936). louis glass is one of the most importantDanish composers of the late romantic period. He was a contemporary
http://www.hnh.com/composer/glass_l.htm

Extractions: Louis Glass is one of the most important Danish composers of the late romantic period. He was a contemporary of Carl Nielsen, but there is a certain opposition between their musical styles due to the influence on Glass of Cesar Franck and Anton Bruckner. Besides Louis Glass was an outstanding pianist and teacher. Recommended Recording Sonata Nos. 1 and 2 / Fantasy
Louis Glass, Composer (1864-1936)
Dacapo Records biography focuses on his relative popularity to Nielsen and features his symphonic Category Arts Music Composition Composers G glass, louisglass, louis (18641936) louis glass was an exact contemporary of Carl Nielsen,and was one of the most important and consistent Late Romantic composers in
http://www.dacapo-records.dk/komponister/glass.html
Musica Classica - Classical Music - Klassische Musik - Karadar Bertoldi Ensemble
louis glass. (1864 1936)
http://www.karadar.net/Dictionary/glass_L.html

Extractions: Louis Glass Life Photo Gallery Home Page Louis Glass Life Louis Glass is one of the most important Danish composers of the late romantic period. He was a contemporary of Carl Nielsen , but there is a certain opposition between their musical styles due to the influence on Glass of Cèsar Franck and Anton Bruckner Besides Louis Glass was an outstanding pianist and teacher. Karadar Bertoldi Ensemble Studio Informatico Anesin
Glass, Louis
Biographical data, recommended CDs, books and sheet music, bibliography, and links to biographical essays from Dr. Estrella's Incredibly Abridged Dictionary of Composers.
http://stevenestrella.com/composers/composerfiles/glass1936.html
Philip Chasen Antiques - Antique Tiffany Studios Glass And Lamps, Daum Nancy Gla
Specializing in signed lamps, art glass and louis Icart etchings.
http://www.chasenantiques.com

Extractions: LOUIS COMFORT TIFFANY GLASS AND LAMPS DAUM NANCY AND EMILE GALLE GLASS LOUIS ICART ETCHINGS Welcome to Philip Chasen Antiques featuring authentic Louis Comfort Tiffany Favrile glass, antique Tiffany Studios lamps and desk sets, Daum Nancy glass, Emile Galle glass, Louis Icart etchings and paintings, Handel lamps, Pairpoint lamps, Art Deco French glass by Le Verre Francais and Schneider, Rookwood pottery, Loetz glass, Steuben glass, Quezal glass, Durand glass, Martin Brothers pottery, Pal Fried paintings, Andre Gisson paintings, R. Lalique glass, and F.S. Church paintings. For 30years, I've traveled the world buying and selling many exceptional objects of art. My expertise and integrity are well recognized in the antiques world. I have been dealing with many of the same clients for over 20 years. I hope to do the same with you. Here you can come to buy, sell, trade, or learn. There are links to items for sale and also free lessons on glass, lamps and desk sets. Hopefully you will find the lessons very informative. As a recognized expert in the field of Art Nouveau signed lamps, French and American art glass, I've been called on many times to authenticate various objects. I am a paid consultant to various auction houses and insurance companies. As much as I would like to accommodate all requests for assistance, authentication, appraisals and research, I cannot.
Glass Blocks Of St. Louis, Inc.
glass Blocks of St. louis glass Block Specialists Because glass Block Is All We Do.
http://www.glass-blocks.com/
Browse Classical - Composer
Here are the titles which include the Composer "glass, louis" by title by release date
http://www.towerrecords.com/az_classictit2.asp?entry=Glass,+Louis&type_1=comp&ti
The Rivalry Between Louis Comfort Tiffany And John La Farge
Long illustrated article on the competition between La Farge and Tiffany, both of whom claimed to have invented American opalescent stained glass, both of whom trademarked it, their legal battle and its outcome.
http://www.jlsloan.com/lct1.htm

Extractions: Opposite: Fig. 2. John La Farge in his Studio, c. 1895. J. Walker MeSpadden, Famous Painters of America (New York: Thomas Y. Crowell, 1907), opposite 194. Courtesy of Dr. James L. Yarnall. By the mid-1890s, the issue between these two great artists had become one of seniority: which of them had first introduced opalescent glass in stained glass windows? The question has remained to this day, with every succeeding generation of books and articles on each artist claiming pride of invention. But historical research provides the answer, along with the reason for the question in the first place. Hubris, financial and social disaster, opportunism, and ultimately market share are in large part the explanation. Prior to 1882, relations between the two artists were not acrimonious. Writing many years later, La Farge related that Tiffany had visited him in the 1870s. La Farge had willingly shown him his experiments with opalescent glass and plating (the layering of one piece over another to achieve colors or effects), clearly establishing that it was he who introduced Tiffany to the material. If we accept La Farge's recollections that he and Tiffany were on apparently good terms at that time, friendly enough for La Farge to show the young artist his work, clearly something went wrong after that.
Louis Comfort Tiffany The Metropolitan Museum Of Art
Includes stainedglass windows, paintings, interiors, mosaics, lamps, jewelry, metalwork, and enamels.
http://www.metmuseum.org/explore/tiffany/release.htm

Extractions: painting interior decoration , and leaded-glass windows , it includes examples of his lamps and chandeliers, objects in glass and bronze, enamelwork pottery furniture jewelry , and even textiles. It also includes a selection of presentation and working drawings from the Tiffany Studios for interiors, windows, mosaics, lampshades, and other decorative objects, drawn from a collection of more than 400 works and seen here publicly for the first time. painting , and an introductory gallery features one of his early canvases, Snake Charmer at Tangier, Africa (1872), Representing his interior work of the early 1890s are rare examples of Tiffany furniture, including a large carved oak armchair that originally was part of the famous Rembrandt Room, or library, of the Fifth Avenue mansion of noted art patrons Louisine and H. O. Havemeyer, who in 1891 commissioned Tiffany to provide all aspects of the interior decoration of their house. Also, from the Music Room of that house, is a jeweled foliate window in opalescent, amber, and golden glass.
Glass, Louis
This page contains basic and accurate biographical information and links to essays about the Romantic composer glass. glass, louis. glass, louis. Period Romantic
http://www.stevenestrella.com/composers/composerfiles/glass1936.html
AmeriGlas: Stained Glass History
Quick coverage of early glass history, then concentration on American developments in stained glass, including louis Comfort Tiffany and Frank Lloyd Wright.
http://www.shopsmartxpress.com/AmeriGls/AB.htm

Extractions: Stained Glass has origins dating back to the development of glass making in ancient Egypt in the second century B.C. The Greeks and Romans extensively used mosaics made of pebbles and colored ceramic glass chips. The mosaic art flourished well into the 10th century A.D. Stained glass as we know it today was first used in European religious panels around the 11th century A.D. However, the craft fell into a period of decline during the "Dark Ages", as did all the arts. The colored "see through" type of stained glass is still known today as "cathedral" stained glass. This was originally clear glass which had a colored "stain" applied to it. The "stained" glass was soon developed into a glass which had the stain incorporated into the actual glass by adding metals and minerals to the molten glass resulting in a tinted glass which we know today as "cathedral glass". Stained glass windows were used in European cathedrals from the 1100's. The use of stained glass expanded during the Renaissance period of art revival of the 14th century and the building of grand cathedrals in Europe during the 1400's through the 1700's. During this period, the use of stained glass outside the church, however, was rare.
Slipcast Glass-Louis Katz
On Slipcast glass. copyright 1992 louis Katz all rights reserved.Although not clean, clear and glossy like glass, cast glaze is a
http://www.tamucc.edu/~lkatz/articles/slipcastglass.html

Extractions: A lthough not clean, clear and glossy like glass, cast glaze is a far cry from the earthen incinerations that lie close to my heart. The process was a product of circumstances at Illinois State University where I spent my first year of graduate school. Joel Meyers, who runs the glass program, had managed to have a truckload of refractories donated to the school. The glass department, housed in a building too small for the program, was filled to the brim with ceramic-fiber products. Equipment was buried behind boxes of fiber, and the question soon arose as to whether the fiber was worth its storage space. An excess of expensive material underfoot is a great instigator of experimentation. Not only might I never have gotten a chance to use stuff like this for free again, its use was a space-saving public service. Consequently, glass was blown into ceramic-fiber tubes; molten glass was poured into other forms; fiber was wrapped, compressed, ground, melted and then disposed of. B N ew problems continued to crop up, though. When I was invited to be a visiting artist at the New York Experimental Glass Workshop in Little Italy on the isle of Manhattan, I ground 50 pounds of glass, set the slurry in the back of my car and drove from Montana to New York. On arrival, I discovered that the ground glass had settled into a rocknot the normal too-much-feldspar in-the-recipe kind of rock, but a solid, capable-of-deflecting substantial-swings-of-a-hammer concrete. Not to be outdone by what was once a slurry, I went to Canal Street and bought a blender. After crushing the rock with a hammer as best I could, I threw it in. Within a few minutes, I had a few quarts of glass slurry and stubs instead of blender blades.

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