The book Here Comes Everybody by Clay Shirky is about social technologies and their impact + it's delightfully readable book with brilliant insights + I liked it.
Useful link:
www.shirky.com
Tuesday, March 04, 2008
Monday, March 03, 2008
Unique Furniture Designs By Architects
Alice Rawsthorn writes about a new generation of architects producing limited editions of furniture that are increasingly popular with contemporary art collectors + other viewpoints @ http://www.iht.com/articles/2008/02/29/style/DESIGN03.php
Useful links:
www.aalto.com
http://mies.iit.edu
www.future-systems.com
www.zaha-hadid.com
www.adjaye.com
www.glform.com
www.establishedandsons.com
www.vitra.com
I think the expressive pieces are appealing to collectors + I liked it.
Useful links:
www.aalto.com
http://mies.iit.edu
www.future-systems.com
www.zaha-hadid.com
www.adjaye.com
www.glform.com
www.establishedandsons.com
www.vitra.com
I think the expressive pieces are appealing to collectors + I liked it.
A Fine Collection Of Printed Handkerchiefs
I found the article on Printed Handkerchiefs via Economist @ http://www.economist.com/daily/columns/artview/displaystory.cfm?story_id=10789185 interesting + educational.
Chemistry Videos
Top 10 Amazing Chemistry Videos by Aaron Rowe @ http://blog.wired.com/wiredscience/2008/03/top-10-amazing.html was really educational + I enjoyed it.
The Pre-Raphaelites
(via The Outline of Art) William Orpen writes:
By the time the Academy of 1850 opened the existence and doctrines of the Brotherhood had become more widely known, and this year there was no opportunity to complain of any want of public attention. The three pictures aroused a storm of criticism which fell with particular fury on the head of Millais. The true meaning of ‘Pre-Raphaelite’ was not very well understood, and the popular view was that a group of young painters had set themselves up to be ‘better than Raphael’ and deserved to be trounced for their vanity and impudence. And trounced they were. ‘Their ambition,’ wrote one newspaper critic, ‘is an unhealthy thirst which seeks notoriety by means of mere conceit. Abruptness, singularity, uncouthness, are the counters by which they play the game.’
The tile ‘The Carpenter’s Shop,’ by which Millais’s picture is now generally known, was contemptuously applied to it by enemies of the Pre-Raphaelite movement. The artist originally exhibited it at the Academy with no other title than an extract from Zachariah (xiii.6):
And one shall unto Him, What are these wounds in Thine hands? Then He shall answer, Those with which I was wounded in the house of My friends.
The very humanity which endears the picture to us today and makes it irresistibly winning was that time a cause of offence. Millais was accused of dragging down the Saviour to ‘the lowest of human levels, to the level of craving human pity and assistance.’ The picture was described as ‘a pictoral blasphemy’ from which right-minded people would ‘recoil with disgust and loathing.’ Even Charles Dickens took part in the general attack, and denounced the picture in Household Words as follows:
In the foreground of the carpenter’s shop is a hideous, wry-necked, blubbering red-haired boy in a nightgown, who appears to have received a poke in the hand from the stick of another boy with whom he had been playing in an adjacent gutter, and to be holding it up for the contemplation of a kneeling woman so horrible in her ugliness that (supposing it were possible for a human creature to exist for a moment with that dislocated throat) she would stand out from the rest of the company as a monster in the vilest cabaret in France, or the lowest gin-shop in England.
Since the famous novelist’s abuse was directed far more at the persons than the painting, it is interesting to recall that the ‘blubbering boy’ was little Noel Humphreys, the son of an architect, while the ‘monster horrible in ugliness’ was Mrs Henry Hodgkinson. Not one of the people in the picture was painted from a professional model, and though the body of St Joseph is that of the carpenter the head is a portrait of the father of Millais.
The Pre-Raphaelites (continued)
By the time the Academy of 1850 opened the existence and doctrines of the Brotherhood had become more widely known, and this year there was no opportunity to complain of any want of public attention. The three pictures aroused a storm of criticism which fell with particular fury on the head of Millais. The true meaning of ‘Pre-Raphaelite’ was not very well understood, and the popular view was that a group of young painters had set themselves up to be ‘better than Raphael’ and deserved to be trounced for their vanity and impudence. And trounced they were. ‘Their ambition,’ wrote one newspaper critic, ‘is an unhealthy thirst which seeks notoriety by means of mere conceit. Abruptness, singularity, uncouthness, are the counters by which they play the game.’
The tile ‘The Carpenter’s Shop,’ by which Millais’s picture is now generally known, was contemptuously applied to it by enemies of the Pre-Raphaelite movement. The artist originally exhibited it at the Academy with no other title than an extract from Zachariah (xiii.6):
And one shall unto Him, What are these wounds in Thine hands? Then He shall answer, Those with which I was wounded in the house of My friends.
The very humanity which endears the picture to us today and makes it irresistibly winning was that time a cause of offence. Millais was accused of dragging down the Saviour to ‘the lowest of human levels, to the level of craving human pity and assistance.’ The picture was described as ‘a pictoral blasphemy’ from which right-minded people would ‘recoil with disgust and loathing.’ Even Charles Dickens took part in the general attack, and denounced the picture in Household Words as follows:
In the foreground of the carpenter’s shop is a hideous, wry-necked, blubbering red-haired boy in a nightgown, who appears to have received a poke in the hand from the stick of another boy with whom he had been playing in an adjacent gutter, and to be holding it up for the contemplation of a kneeling woman so horrible in her ugliness that (supposing it were possible for a human creature to exist for a moment with that dislocated throat) she would stand out from the rest of the company as a monster in the vilest cabaret in France, or the lowest gin-shop in England.
Since the famous novelist’s abuse was directed far more at the persons than the painting, it is interesting to recall that the ‘blubbering boy’ was little Noel Humphreys, the son of an architect, while the ‘monster horrible in ugliness’ was Mrs Henry Hodgkinson. Not one of the people in the picture was painted from a professional model, and though the body of St Joseph is that of the carpenter the head is a portrait of the father of Millais.
The Pre-Raphaelites (continued)
The New World
(via 5000 Years of Gems and Jewelry) Frances Rogers and Alice Beard writes:
As English rule began to grow intolerable to American colonies and the Revolution approached, it was considered a fitting sign of American patriotism to discontinue to use foreign importations. Men and women were expected to leave off wearing the finery which came from abroad and to patronize their own manufacturers and craftsmen.
One of these craftsmen was Paul Revere, of the famous Midnight Ride. The poet failed to mention what Paul Revere did by day. According to records he was both silversmith and goldsmith, with a somewhat startling, sideline which, expressed with conscientious particularity, we find advertised in The Boston Gazette, December 19, 1768:
Whereas many persons are so unfortunate as to lose their Fore-Teeth by Accident, and otherwise, to their great Detriment, not only in looks, but speaking both in Public and Private:- This is to inform all such that they may have them replaced with artificial ones, that looks as well as the Natural, and answers the end of speaking to all Intents by Paul Revere, Goldsmith, near the head of Dr Clark’s Wharf, Boston.
All Persons who have had false teeth fixt by Mr John Baker, Surgeon-Dentist, and they have got loose (as they will in time) may have them fastened by the above who learnt the Method of fixing them from Mr Baker.
Surely that advertisement must have brought results. Here is another, inserted by an importer:
Imported in the Neptune (Capt.Binney) and to be sold by Daniel Paker, Goldsmith. At his Shop near the Golden Ball, Boston. An Assortment of Articles of the Goldsmith’s and Jeweller’s Way, viz. brilliant and cypher’d Button and Earing Stones of all Sorts, Locket Stones, cypher’d Ring Stones, Garnetts, Amethysts, Topaz and Sapphire Ring Stones, neat Stone Rings sett in Gold, some with Diamond Sparks, Stone Buttons in Silver, by the Card, black ditto in Silver, best Sword Blades, Shoe and Knee Chapes of all sizes.
Let the modern jeweler try to match that advertisement!
During the Revolution, of course, the jeweler’s trade did not meet with much encouragement in America, yet the custom of distributing mourning rings survived even that upheaval. At the death of Washington the country was flooded with a deluge of lockets, rings and brooches, each bearing a lugubrious little painting of Grief, symbolized by a dejected damsel mourning over his tomb. In his will Washington himself left directions for the giving of memorial rings:
To my sister-in-law, Hannah Washington and Mildred Washington, to my friends, Eleanor and Elizabeth Washington of Hayfield, I give each a mourning ring of the value of one hundred dollars.
At an earlier date, the mourning rings worn on this side of the Atlantic were as ornamentally gruesome as those of Europe, but by this time skeletons and death’s heads had been discarded in favor of less grim designs. Gold rings inscribed with the name and date of death were in general use. Sometimes a miniature or a lock of the deceased’s hair decorated the bezel.
For the most part such rings, buttons, buckles, etc. as were actually made in this country were made to order by the freelance goldsmith. It was not until after the war of ’76 that the manufacturing of jewelry as a business, with shops where one could buy ready-to-wear jewels, was established. At least we find no earlier records of them.
It is believed that the first shop of the kind was opened in Newark, New Jersey, sometime between 1790 and 1795 by a man named Hinsdale. There one could buy stock rings already inscribed with the words ‘In memory of,’ followed by a blank space where the name of the departed could readily be added according to order.
The New World (continued)
As English rule began to grow intolerable to American colonies and the Revolution approached, it was considered a fitting sign of American patriotism to discontinue to use foreign importations. Men and women were expected to leave off wearing the finery which came from abroad and to patronize their own manufacturers and craftsmen.
One of these craftsmen was Paul Revere, of the famous Midnight Ride. The poet failed to mention what Paul Revere did by day. According to records he was both silversmith and goldsmith, with a somewhat startling, sideline which, expressed with conscientious particularity, we find advertised in The Boston Gazette, December 19, 1768:
Whereas many persons are so unfortunate as to lose their Fore-Teeth by Accident, and otherwise, to their great Detriment, not only in looks, but speaking both in Public and Private:- This is to inform all such that they may have them replaced with artificial ones, that looks as well as the Natural, and answers the end of speaking to all Intents by Paul Revere, Goldsmith, near the head of Dr Clark’s Wharf, Boston.
All Persons who have had false teeth fixt by Mr John Baker, Surgeon-Dentist, and they have got loose (as they will in time) may have them fastened by the above who learnt the Method of fixing them from Mr Baker.
Surely that advertisement must have brought results. Here is another, inserted by an importer:
Imported in the Neptune (Capt.Binney) and to be sold by Daniel Paker, Goldsmith. At his Shop near the Golden Ball, Boston. An Assortment of Articles of the Goldsmith’s and Jeweller’s Way, viz. brilliant and cypher’d Button and Earing Stones of all Sorts, Locket Stones, cypher’d Ring Stones, Garnetts, Amethysts, Topaz and Sapphire Ring Stones, neat Stone Rings sett in Gold, some with Diamond Sparks, Stone Buttons in Silver, by the Card, black ditto in Silver, best Sword Blades, Shoe and Knee Chapes of all sizes.
Let the modern jeweler try to match that advertisement!
During the Revolution, of course, the jeweler’s trade did not meet with much encouragement in America, yet the custom of distributing mourning rings survived even that upheaval. At the death of Washington the country was flooded with a deluge of lockets, rings and brooches, each bearing a lugubrious little painting of Grief, symbolized by a dejected damsel mourning over his tomb. In his will Washington himself left directions for the giving of memorial rings:
To my sister-in-law, Hannah Washington and Mildred Washington, to my friends, Eleanor and Elizabeth Washington of Hayfield, I give each a mourning ring of the value of one hundred dollars.
At an earlier date, the mourning rings worn on this side of the Atlantic were as ornamentally gruesome as those of Europe, but by this time skeletons and death’s heads had been discarded in favor of less grim designs. Gold rings inscribed with the name and date of death were in general use. Sometimes a miniature or a lock of the deceased’s hair decorated the bezel.
For the most part such rings, buttons, buckles, etc. as were actually made in this country were made to order by the freelance goldsmith. It was not until after the war of ’76 that the manufacturing of jewelry as a business, with shops where one could buy ready-to-wear jewels, was established. At least we find no earlier records of them.
It is believed that the first shop of the kind was opened in Newark, New Jersey, sometime between 1790 and 1795 by a man named Hinsdale. There one could buy stock rings already inscribed with the words ‘In memory of,’ followed by a blank space where the name of the departed could readily be added according to order.
The New World (continued)
Sunday, March 02, 2008
Selling Colored Gemstones
I think the most important factors are product knowledge + good service + disclosure + documentation, which may provide adequate confidence to the consumer who may/may not know enough about colored stones.
Innumeracy
Innumeracy by John Allen Paulos is an easy to read book + he points out what lack of number intimacy can do to a person + I liked the anecdotes.
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