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ARTS | December 23, 2011
Art Review: Getting Personal
By KEN JOHNSON
"The Renaissance Portrait From Donatello to Bellini" at the Metropolitan Museum of Art shows how subjects flaunted their connections.
Art Review: Getting Personal
By KEN JOHNSON
"The Renaissance Portrait From Donatello to Bellini" at the Metropolitan Museum of Art shows how subjects flaunted their connections.
and JUMP
"Carlo Scarpa (Venice 1906 - Sendai, Japan 1978) is recognised as one of the most important architects of the twentieth century. His artistic formation took place above all in Venice, where he was part of a circle of artists and intellectuals associated with the Venice Biennale and the Fine Arts Academy (Accademia di Belle Arti) from which he was awarded a diploma as professor of architectural drawing in 1926.
From 1933 to 1947 Scarpa was the artistic consultant to Venini, the great Venetian glass manufacturer. Scarpa’s highly inventive use of traditional Murano techniques resulted in some of the most original glass works in the history of design. It was in this environment that Scarpa’s attraction to the orient, and the decorative and applied arts began, with particular attention in an initial period to the Viennese Secessionists (Hoffmann, Loos, Wagner) followed by a life-long interest in the organic architecture of Frank Lloyd Wright."
From 1933 to 1947 Scarpa was the artistic consultant to Venini, the great Venetian glass manufacturer. Scarpa’s highly inventive use of traditional Murano techniques resulted in some of the most original glass works in the history of design. It was in this environment that Scarpa’s attraction to the orient, and the decorative and applied arts began, with particular attention in an initial period to the Viennese Secessionists (Hoffmann, Loos, Wagner) followed by a life-long interest in the organic architecture of Frank Lloyd Wright."
( When Scarpa redesigned the Castelvecchio Museum he did it with its collection in mind. Drawn to this fourteenth century sculpture by the Master of Sant'Anastasia circle, Scarpa turned the figure around and initially withheld the face. The viewer approaches from the back, seeing the double braid and the curves of the hemline hemline first. )
