Émile Gallé

Émile Gallé
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Описание книги

An icon in the Art Nouveau movement, Émile Gallé (1846-1904) sought to portray the beauty and simplicity of nature in his glass art. His designs, referred to as “poetry in glass”, range from fine pottery to jewellery and furniture. Everything Gallé produced contains traces of his masterful technique which reflects his innovativeness as an artist and his skill as a designer. In this rich text, Gallé unravels the beauty and ingenuity found within his own work.

Оглавление

Émile Gallé. Émile Gallé

Introduction

Lover of Nature

The Best is the Enemy of the Good

The Symbolic Decor

Toast Pronounced at the Lorraine-Artiste Banquet on 16 February 1901

Porcelain

L’École de Nancy in Paris

Master Glassmaker

The Pasteur Vase

The Balsam Tree

The Hazel Tree

Wreck

The Prouvé Vase

The Official Artist

About the Prix de Rome

The Exhibitions of 1897

My Shipments to the Salon

Goncourt and the Arts and Crafts

The Decorator

Contemporary Furniture Adorned by Nature

The Table with Garden Herbs

Fruits of the Spirit

Biography

Отрывок из книги

Pitcher, c. 1878. Faience, yellow flakes, white tin glaze, height: 45 cm, width: 38 cm, depth: 19 cm. Landesmuseum Württemberg, Stuttgart.

“Chasseur et Chasseresse” coffee service, 1882–1884. Faience, yellow flakes, blue tin glaze, coffee pot: height: 26.5 cm, width: 22 cm, depth: 15 cm. Musée de l’École de Nancy, Nancy.

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We should turn off “the morning star and the evening star”, we should erase these quotes, the constellations. For the symbol to disappear forever in art, we will have to clear, “God, the sacred star that perceives the soul”, being, in fact, the word of the entire nature, from reign to reign, from symbol to symbol, from reflection to reflection:

And that is precisely what has been the strength of our national art, from its primitive manifestations until the emotional gesture that ascends the prayer of our cathedrals skyward. That is what made its beauty in its green expansion of the 13th century: because it was not locked up in the studio, like ivy on the trunk of the oak, it clung to the free nature, this is to say, to symbolism itself. Baudelaire worded in a grand way this view of harmonic resonances in the vast creation:

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