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The Getty Museum’s collection of postclassical European glass represents a well-defined chapter within the history of the medium. These objects—which range in date from the late Middle Ages to the late seventeenth century—originated in important Italian, German, Bohemian, Netherlandish, Silesian, and Austrian centers of production. The sixty-eight pieces presented in this catalogue include vessels made to resemble rock crystal or chalcedony; glass blown into unusually large or remarkably refined shapes; and glass decorated with ornament that is intricately applied, elegantly enameled, or gilded. Each object is described in detail, including provenance, bibliography, and relevant comparative examples. An introductory essay traces the history of European glass from classical times to the present.
9781462909650
In this book, Antonín Langhamer brings to life the whole depth and breadth of Czech glass achievement. The book covers its entire history, not only artistic, but technical, economic and commercial. His exhaustive glossary at the back is more than just a place to look up terms, but an illuminating narrative on every aspect of glass, from ancient times to the present. The work is illustrated with lush photographs created by outstanding photographers who specialise in capturing the breathtaking beauty unique to glass. In Langhamer's narratives on early times, readers will find fascinating parallels with the behaviour of modern people, nations and industries. Despite its early origins, Bohemian glass took considerable time to reach prominence. Beginning in obscurity, Bohemian glassmakers produced wares that for a long time were good, but not exceptional. Bohemia's history has been turbulent, and readers can draw inspiration from the ingenuity and persistence of those glassmakers who succeeded against overwhelming odds. While World War II was raging, in the midst of shortages of every imaginable material and fuel, a Czech entrepreneur built himself a little glass furnace. Raw materials were hard to come by, so he made do by re-melting crushed bottles. This book is full of many stories of human valour and weakness, the development of technical and artistic marvels, legal harassment, sex discrimination, industrial espionage, and the triumph of ambition over adversity. But it also tells of ordinary people doing their ordinary work throughout their ordinary lives, and thereby achieving something magnificent. Glass affects everyone's life, and everyone's life, in some small way, affects the evolution of glass. Readers will never see glass in the same way again.
Medieval Jerusalem was a vibrant international center, home to multiple cultures, faiths, and languages. Harmonious and dissonant voices from many lands, including Persians, Turks, Greeks, Syrians, Armenians, Georgians, Copts, Ethiopians, Indians, and Europeans, passed in the narrow streets of a city not much larger than midtown Manhattan. Patrons, artists, pilgrims, poets, and scholars from Christian, Jewish, and Islamic traditions focused their attention on the Holy City, endowing and enriching its sacred buildings, creating luxury goods for its residents, and praising its merits. This artistic fertility was particularly in evidence between the eleventh and fourteenth centuries, notwithstanding often devastating circumstances—from the earthquake of 1033 to the fierce battles of the Crusades. So strong a magnet was Jerusalem that it drew out the creative imagination of even those separated from it by great distance, from as far north as Scandinavia to as far east as present-day China. This publication is the first to define these four centuries as a singularly creative moment in a singularly complex city. Through absorbing essays and incisive discussions of nearly 200 works of art, Jerusalem, 1000–1400: Every People Under Heaven explores not only the meaning of the city to its many faiths and its importance as a destination for tourists and pilgrims but also the aesthetic strands that enhanced and enlivened the medieval city that served as the crossroads of the known world.