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Mr. Christopher Patterson

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Mr. Christopher Patterson

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  • May 2012
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One of America's most acclaimed artists, Louis Comfort Tiffany's career spanned from the 1870s through the 1920s. He embraced virtually every artistic and decorative medium, designing and directing his studios to produce leaded-glass windows, mosaics, lighting, glass, pottery, metalwork, enamels, jewelry, and interiors. As the son of Charles Lewis Tiffany (1812–1902), founder of Tiffany & Company, the fancy goods store that became the renowned jewelry and silver firm, Tiffany chose to pursue his own artistic interests in lieu of joining the family business. I have always been a fan of tiffany class The artist’s use of color and the lines are exquisite. The overall look of the piece is balanced and harmonious. Critics of mid-nineteenth-century sculpture in France called attention to its often slavish mimicry of ancient works and to the pomposity of public monuments. Charles Baudelaire attacked on a more fundamental level in his 1846 essay, "Why Sculpture Is Boring," which decried the limitations of three-dimensional sculptural representation in comparison to painting, arguably a more versatile and evocative medium. A later shift in taste toward a freer and more naturalistic style is exemplified by the work of Second Empire sculptor Jean-Baptiste Carpeaux. Breaking with traditional approaches to historical subjects and portraiture, Carpeaux infused his sculpture with a previously unseen freedom and immediacy When I look at this particular piece of sculpture, The first thing that come to mind is that the artist put a lot of Emphasis on the facial expressions of the characters. Also that the human forms are balanced within the space given. Jean-Baptiste Carpeaux (1827–1875) | Thematic Essay | Heilbrunn Timeline of Art History | The Metropolitan Museum of Art: http://www.metmuseum.org/toah/hd/carp/hd_carp.htm

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