Oscar P. Fitzgerald:Ateliermöbel der Renwick Gallery: Smithsonian American Art Museum von Osca
- edizione con copertina flessibile ISBN: 9781565233676
A foreword by noted scholar and curator Paul Greenhalgh gives readers a brilliant overview of the studio furniture field and the intimate role furniture plays in daily life. A terrific re… Altro …
A foreword by noted scholar and curator Paul Greenhalgh gives readers a brilliant overview of the studio furniture field and the intimate role furniture plays in daily life. A terrific resource for the collector, student or layperson. The Nile on eBay FREE SHIPPING UK WIDE Studio Furniture of the Renwick Gallery: Smithsonian American Art Museum by Oscar P. Fitzgerald Synopsis coming soon....... FORMATPaperback LANGUAGEEnglish CONDITIONBrand New Publisher Description Exquisitely photographed and beautifully designed, this complementary catalog of America's finest studio furniture highlights 84 pieces from the Smithsonian's Renwick Gallery. Inside, the pages reveal the importance of wooden furniture in the modern American craft arena, and how first- and second-generation artists shaped the studio furniture movement. Artist statements accompany gorgeous photography of the Renwick collection and provide insight into the makers' training and professional experience, theories on art, artistic techniques, and even personal inspirations. Such artists include the patriarch of studio furniture, Wharton Esherick, and Wendle Castle, the maker of the most popular piece among gallery visitors—the infamous Ghost Clock. The treasures of the Renwick collection—Judy's McKee's "Monkey Settee," Sam Maloof's "Rocking Chair," John Cederquist's "Ghost Boy," and George Nakashima's "Conoid Bench"—are also included among the many pieces from makers whose work is functional, artistic, and of the finest craftsmanship. Notes 84 pieces, including the work of Sam Maloof, Tage Frid, Wharton Esherick and Wendall Castle, providing insight into their training, techniques and inspirations. Author Biography Oscar P. Fitzgerald is the former director of the Navy Museum in Washington, DC, who currently works as a historian and teacher with the Smithsonian American Art Museum. He is the author of "Four Centuries of American Furniture "and the 2004 recipient of the prestigious James Renwick Research Fellowship. He lives in Arlington, Virginia. Table of Contents 7 Foreword Paul Greenbalgh10 Acknowledgments13 Building the Collection31 The Collection205 A Statistical Snapshot of the Collection217 Bibliography Review "A can't miss text for any collector of American studio furniture." --"American Style "magazine "Fitzgerald offers a long-overdue portfolio showcasing the Renwick Gallery's entire 84-piece collection of crafted American furniture. This critical resource will serve as a foundation for the study and historic preservation of 20th-century American furniture makers' work. Highly recommended." --"Choice" Fitzgerald's statistical analysis of the collection, formulated from detailed interviews with the surviving artists, casts new light on workshop practices, marketing concerns and other aspects of the contemporary studio furniture movement. A foreword by noted scholar and curator Paul Greenhalgh gives readers a brilliant overview of the studio furniture field and the intimate role furniture plays in daily life. - The Crafts Report Art, architecture, and design meet function in this stunning book. Studio Furniture documents and celebrates the masters of the craft while offering a historical retrospective of American furniture practice. A terrific resource for the collector, student or layperson. - Scout and Morgan Books for Midwest Booksellers Association In this beautiful, wide-format soft cover, Oscar Fitzgerald does an admirable job of describing each maker's importance to the movement...Fine Woodworking No student, collector, or furniture enthusiast should be without this coffee-table style book, available in hard or soft-cover that so beautifully illustrates such an important movement in modern craft. -Vic Tesolin, Canadian Woodworking In all, this is a can't miss text for any collector of American studio furniture. - American Style If you read this book one hundred years from now, i'm sure it would be as thought provoking as it is today. These are 84 great pieces, and this is one great book. - Canadian Woodworking & Home Improvement Studio Furniture of the Renwick Gallery provides historical look at modern American furniture making Studio Furniture of the Renwick Gallery published by Fox Chapel is a beautifully designed catalogue of the Renwick Gallery's collection of American studio furniture. Inside, author Oscar P. Fitzgerald documents each of the 84 pieces, and provides intimate interviews with many of the surviving artists, who share their inspirations, workshop practices, and more. Appreciated for its careful craftsmanship, beautiful wood, sculptural form, and narrative nature, the studio furniture collection on permanent display at the Smithsonian American Art Museum constitutes one of the largest assemblages of American studio furniture in the nation. From the one-of-a-kind Ghost Clock sculpture by Wendell Castle to the rocking chairs from Sam Maloof, the collection highlights the astonishing variety of the studio furniture movement. Studio Furniture of the Renwick Gallery provides a vital resource for the history of modern American furniture makers and chronicles how the collection was amassed by the former administrators of the Renwick Gallery. A foreword by noted scholar and curator Paul Greenhalgh gives readers a brilliant overview of the studio furniture field. No student, collector, or furniture enthusiast should be without this coffee-table style book, available in hard or soft-cover that so beautifully illustrates such an important movement in modern craft. Fitzgerald offers a long-overdue portfolio showcasing the Renwick Gallery's entire 84-piece collection of crafted American furniture. This critical resource will serve as a foundation for the study and historic preservation of 20th-century American furniture makers' work. Fitzgerald's perspective lends a deeper understanding of the craftsmen's unique personal expression, experience, and cultivated vision in this genre. His artist biographies and bibliographies highlight these individuals' ambitions and idiosyncratic development, which extends to areas including pop culture. Many adhere to traditional wood furniture craft yet incorporate new approaches in their one-of-a-kind works of art. Readers will gain further insight into functional and physical communication from the conceptual, historiographical, and narrative commentary. This comprehensive review of 50 years of modern American furniture practice recognizes furniture design's close alignment with architecture, the decorative arts, and culture. Contributing to the historical perspective are 115 color photographs highlighting the significant contributions furniture designers have made to the culture of the last century. Summing Up: Highly recommended. 3 STARS. Upper-division undergraduates through professional/practitioners; general readers. This catalog aimed at students, collectors, and furniture enthusiasts features the collection of American studio furniture at the Renwick Gallery of the Smithsonian American Art Museum in Washington, D.C., which consists of 84 pieces - clocks, chairs, stools, tables, benches, chests, music stands, and other pieces by artists such as Tage Frid, Rob Womack, Wendell Castle, and David Ebner. Fitzgerald, a furniture historian, decorative arts consultant, and teacher with the Smithsonian Institution, describes each piece, which is shown in a color photo, and provides a history and statistical analysis of the collection. The latter is based on interviews with the surviving artists and details workshop practices, marketing concerns, aesthetic influences, design approaches, and other aspects of the contemporary studio furniture movement. (Annotation 2009 Book News Inc. Portland, OR) The best thing about museum collections is that the pieces are all actually there, to be experienced in person. That's also the problem with collections: that the pieces must actually be there. So any collection that purports to be representative of a major movement ends up hamstrung by logistical realities. I'm guessing here, but the seminal piece or piece must not be available in many cases. In this beautiful, wide-format soft cover, Oscar Fitzgerald does an admirable job of describing each maker's importance to the movement, but the book is only as good as the collection itself, and time and again, I found a maker's signature pieces missing. Garry Knox Bennett, John Dunnigan, Wharton Esherick, Michael Hurwitz, Kristina Madsen, Jere Osgood, the names are right but the pieces weren't. The curators had better luck with some than others. Wendell Castle and Sam Maloof got full justice. And I was exposed to wonderful pieces and makers I had never seen before. On the other hand, recent artists were included whose work is, frankly, mediocre. I saw a blase version of a Windsor chair, a bad knockoff of a Maloof rocker, and a mediocre children's chair by someone who was briefly a student and apprentice and then left the field. And some true heavyweights were left out: David Lamb and Terry Moore, with their unmistakably contemporary but always sure handed takes on period furniture; Brian Newell and Michael Puryear, who do the same thing with Asian and African motifs, respectively. Check past back covers of Fine Woodworking for others. I came away thinking that the way to do a definitive book on the studio furniture movement is not to base it on one exhibit, even one at the nation's greatest museum. Why be at the mercy of a curator's whimsy and the realities of collection when all you need are photos of the pieces, not the pieces themselves? I'll forward that thought to ou, Fox Chapel Publishing<
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