Harvey Littleton Revived the Art of Glassmaking in the Twentieth Century Movement

American creative person and educator

Harvey Littleton
Harvey Littleton hot-working glass, c. 1983
Born	June 14, 1922 Corning, New York
Died	December 13, 2013(2013-12-xiii) (anile 91) Spruce Pine, North Carolina
Other names	Harvey Kline Littleton, Harvey M. Littleton
Instruction	BD (1947), Industrial Design, University of Michigan; MFA (1951), Ceramics and Metals, Cranbrook University of Art
Occupation	Creative person, educator
Known for	Founder, American studio glass movement

Harvey Littleton (June fourteen, 1922 – December 13, 2013) was an American glass artist and educator, one of the founders of the studio drinking glass movement; he is oft referred to as the "Begetter of the Studio Glass Motility".^[1] Built-in in Corning, New York, he grew up in the shadow of Corning Drinking glass Works, where his father headed Research and Development during the 1930s.^{[2] : six} Expected by his father to enter the field of physics, Littleton instead chose a career in art, gaining recognition first as a ceramist and after as a glassblower and sculptor in glass. In the latter capacity he was very influential, organizing the starting time glassblowing seminar aimed at the studio artist in 1962, on the grounds of the Toledo Museum of Fine art. Imbued with the prevailing view at the time that glassblowing could only be washed on the factory floor, separated from the designer at his desk, Littleton aimed to put it within the reach of the private studio artist.^{[three] : 6}

In his part every bit an educator, Littleton was an "... outspoken and eloquent advocate of university pedagogy in the arts."^{[4] : 6} He initiated the offset hot glass program at an American university (the University of Wisconsin–Madison) and promoted the idea of glass every bit a course of study in university art departments in the United States. Littleton's students went on to disseminate the study of drinking glass art and establish other university-level hot glass programs throughout the U.S.

Littleton retired from teaching in 1977 to focus on his own art.^{[5] : 110–111} Exploring the inherent qualities of the medium, he worked in series with uncomplicated forms to draw attention to the complex interplay of transparent glass with multiple overlays of thin color.^{[iv] : 2}

While at Wisconsin, every bit an outgrowth of a workshop he taught in cold-working techniques for glass, Littleton began experimenting with printmaking from glass panes. As an independent artist, his studio included infinite for printmaking, and he continued to explore and develop the techniques of vitreography.^{[five] : 99, 130–134}

Littleton worked as an independent glassblower and sculptor until chronic back problems forced him to abandon hot glass in 1990, and he continued his creative interest in vitreography well beyond that.

Early life [edit]

Harvey Kline Littleton was born in Corning, New York , the fourth offspring of Dr. Jesse T. Littleton Jr., and Bessie Cook Littleton. His male parent was a physicist who had been recruited from the faculty at the University of Michigan to join the showtime enquiry team at Corning Glass Works. Director of Research at the time of Harvey'southward birth (and subsequently a Vice President of Corning), Dr. Littleton is remembered today every bit the developer of Pyrex glassware and for his piece of work on tempered glass.^[5]

Harvey Littleton's introduction to the world of drinking glass began when he was half dozen. On Saturdays his father would accept Harvey off his mother's hands for a few hours by bringing him to the laboratory. There he was turned over to the laboratory stockman who entertained him or, at to the lowest degree, kept the little male child out of problem. When he was twelve, Harvey and his siblings were at the glassworks watching at the time of the failure of the commencement casting of the 2-hundred inch mirror for the Hale Telescope at Palomar Observatory.^{[v] : 7} At dwelling, the properties of glass and its manufacture were frequent topics at the family dinner-table. Dr. Littleton was fascinated by glass and believed that the material had almost unlimited uses.^{[six] : three}

Littleton attended high schoolhouse at Corning Free University.^{[Notes 1]} His interest in art developed during this time, and he took life drawing and sculpture courses through an extension programme at Elmira College.^{[5] : 9}

Education [edit]

When he was eighteen, Littleton enrolled at the University of Michigan^{[5] : 3} to report physics. His selection of major was influenced past his male parent, who wanted i of his children to follow him in his profession (Littleton's oldest sibling Martha was an industrial psychologist; his oldest brother Jesse chose medicine as a career; and his brother Joe became a Vice President of Corning's Technical Products Division).^[5] Co-ordinate to Littleton, "I ever thought I would be a physicist like my male parent".^{[6] : two}

While studying physics, Littleton also took sculpture classes with Avard Fairbanks at Michigan,^{[6] : 3} which fueled his growing preference for art. Later three semesters of physics, the pull of fine art proved stronger than his respect for his father's wishes, and, with sis Martha's encouragement he arranged to study at Cranbrook Academy of Art for the 1941 spring semester. There he studied metalwork with Harry Bertoia and sculpture with Marshall Fredericks, and worked part-time as a studio assistant to the aging Carl Milles.^{[5] : 18} Dr. Littleton was not pleased by his son's decision. Littleton enlisted Martha'southward aid in arriving at a compromise: Littleton would return to the Academy of Michigan that fall, to major in industrial design. He also enrolled in a ceramics class, with Mary Chase Stratton^{[2] : 6, [v]}

During the summers of 1941 and 1942 Littleton worked at Corning. In summer 1942, working as a mold maker in the Vycor multiform project laboratory, he cast his first work in glass. Using a neoclassic trunk he had modeled in clay, he fabricated a casting in white Vycor.^{[Notes two]}

Following the Pearl Harbor attack, Littleton tried to volunteer in the Coast Guard, the Air Force, and the Marines, but was rejected because of his poor eyesight. In the fall of 1942, he was drafted into the Army, interrupting his continued study. He was assigned to the Signal Corps, and served in North Africa , France, and Italy.^{[v] : 20} Virtually the end of the war, he received a commendation for developing a decoding device. In England awaiting his turn to be shipped dwelling, he attended classes at the Brighton School of Art to fill fourth dimension. He modeled and fired another pocket-sized clay torso that he carried dwelling in his barracks purse. In one case dorsum in Corning, New York, Littleton cast the torso, again in Vycor, equally a minor edition.^{[Notes 3] [2] : vi}

Littleton returned to the Academy of Michigan in January, 1946, and finished his degree in industrial pattern in 1947. With his father'south encouragement Littleton submitted a proposal to Corning to create a workshop within the factory to research the artful properties of industrial glass.^{[two] : vii} When this proposal was non accepted, Littleton and ii friends, Pecker Lewis and Aare Lahti, opened a design studio called Corporate Designers in Ann Arbor.^{[5] : 12, [six] : 10} Later obtaining an equipment gild from the Goat's Nest Ceramic Studio in Ann Arbor, Littleton began pedagogy evening pottery classes there. Later, when the Goat'due south nest was put on the market, he helped his students form a co-op that became the Ann Arbor Potter's Guild.^{[ citation needed ]} At near the same time, he found a teaching job at the Museum School of the Toledo Museum of Art.^{[v] : 22–23}

In 1949, Littleton enrolled under the GI Neb every bit a graduate educatee in ceramics at Cranbrook Academy of Art, studying under Finnish potter Maija Grotell. Commuting weekly between Toledo, Ohio and Bloomfield Hills, Michigan, he played Wednesday-dark poker in Toledo with a group that included Dominick Labino, who would be of import to the success of his seminal workshops a dozen years after.^[5]

Littleton received the MFA degree in ceramics in 1951, with a minor in metals. With a recommendation from Grotell, he landed a didactics postal service at the University of Wisconsin, Madison (UWM).^[5]

Career [edit]

Academy of Wisconsin 1951–1962: ceramics and glass exploration [edit]

A selection of Harvey Littleton's 1950s work in ceramics

Littleton and his family unit purchased a farm almost 12 miles from the Wisconsin campus. This location served Harvey as home, studio, laboratory, and one-time-classroom. His production every bit a potter focused on functional stoneware that he sold in Chicago-area art fairs and in galleries from Chicago to New York Urban center. His work was included in group shows in the United states of america, including "Designer Craftsmen U.Due south.A.," sponsored by the American Craft Council (ACC) in 1953 and the Ceramic National exhibition at the Syracuse Museum of Fine Arts (now the Everson Museum of Fine art) in 1954. His pottery gained international exposure in 1956 at the Commencement International Exposition of Ceramics in Cannes, French republic.^{[2] : 23} As his reputation grew, he also participated in advancing his arts and crafts; he was elected 1 of the first craftsmen-trustees of the American Craft Council, he received a small research grant from the university to explore glazing processes, and he designed a manually operated bicycle called the "Littleton Kick Wheel," which was used by students in the ceramics lab at the UWM.^{[5] : 26–28}

In 1957-58 Littleton took a year'southward exit. A university research grant allowed him to visit Europe to study the influence of Islamic culture on gimmicky Spanish pottery. He first stopped in Paris to visit Jean Sala, who had been recommended to him as an artist who worked alone in drinking glass.^[2] Though Sala was no longer active in glass, he took Littleton to his now-idle studio. Conditioned by all of his experience at Corning, Littleton knew only of glass-making in an industrial setting, by a team of workers.

After four and a half months of research in Spain, Littleton visited the site of his war-fourth dimension service in Naples. He was surprised to find seven pocket-size glass factories there. On a later visit to the island of Murano, he visited more than fifty glass factories. He was fascinated past the little sit-in furnaces that some of the factories placed outside their walls. The furnaces would be staffed by a couple of the factory's glassblowers, who would perform their craft for tourists. His meeting with Sala and his Murano experiences stimulated his interest in making glass art in a private studio.^[9]

Upon his return to the University and his Verona, Wisconsin studio Littleton began melting pocket-size batches of glass in his ceramics kiln, using hand-thrown stoneware bowls every bit crucibles.^{[two] : nine} He congenital his kickoff glass furnace in the summer of 1959. Equally a upshot of these ongoing experiments, the ACC asked him to chair a console on glass at its Third National Conference, at Lake George, New York, in 1958. The panelists were glass artists and designers Michael and Frances Higgins and Earl McCutchen, who worked in laminated glass at the University of Georgia. Paul Perrot, director of the Corning Museum of Glass, was the 5th panelist. At this conference, Littleton suggested that drinking glass should be a medium for the individual artist.^{[10] : 262} Past the time the ACC convened its fourth conference in 1961, Littleton non only presented a paper on his own work in glass but too exhibited a sculpture made of three faceted pieces of cullet that he had melted, formed and carved in the previous year. By this time, Littleton was applying for grants to get his vision of a hot glass studio programme at the University off the footing.^{[2] : 10}

1962 drinking glass workshops [edit]

When no grants for a hot drinking glass studio had materialized by the fall of 1961, Otto Wittmann, director of the Toledo Museum of Art, suggested that Littleton consider giving a glassblowing seminar at the museum, and offered the use of a storage shed on the museum grounds. The first of ii workshops was held in this makeshift facility from March 23 to April 1, 1962.

Wittman had sent a letter to a number of ceramists in the U.S. inviting them to participate in the workshop, and asked Norm Schulman, the pottery instructor at the museum schoolhouse, to facilitate the arrangements. The viii attendees in addition to Littleton and Schulman were: Dominick Labino (then managing director of enquiry for Johns Manville Corporation), Clayton Bailey, who was Littleton's graduate assistant from the University of Wisconsin, Tom McGlauchlin from the University of Iowa (who had been Littleton's graduate assistant at Wisconsin the previous year), Karl Martz from Indiana Academy, John Stephenson from the University of Michigan, William Pitney from Wayne State Academy, artist Dora Reynolds, and Edith Franklin, one of Schulman's ceramics students.^{[xi] : 54} Littleton provided a small pot furnace he had built. In the first couple of days, the participants spent much of the time trying to find a workable glass formula and getting batches of glass melted, leaving very trivial time to experiment with actual blowing. Labino suggested converting the furnace to a twenty-four hours tank, which would accept a larger chapters, and provided some borosilicate marbles to melt instead of mixing a formula. This glass proved like shooting fish in a barrel to work for glass bravado, and the workshop participants experimented with it in shifts for the remainder of the week. On the final day of the workshop, Harvey Leafgreen, a retired glassblower from the Libbey glass plant in Toledo, happened in to run into the public display of the workshop products, and presented an unexpected two-60 minutes demonstration of the craft.^{[2] : 11 [5] : 39–41}

The facilities that had been congenital for the first workshop were left in identify, and a second, longer, better advertised Toledo workshop was held from June eighteen–30. Littleton and Wittman had attracted a small corporeality of financial support for scholarships and other costs. Leafgreen was enlisted to assist, and shared education duties with Littleton, Labino, and Schulman. In add-on, there were lecturers on glass history and on furnace and annealing technology. This workshop had a larger and more diverse group of participants.^{[11] : 55 [two] : xi, [5] : 41–44}

Because the facilities for annealing were very crude, very few of the pieces fabricated in the two workshops survived for very long. Of all the participants in the workshops, only McLaughlin and Littleton himself pursued a glass career. Even so, from the standpoint of what was learned about how to build and operate a studio/didactics facility, the two Toledo workshops were a resounding success, and have been recognized as the genesis of the American studio glass movement.^[12]

University of Wisconsin 1962–1977: glass development [edit]

In the summer of 1962 Littleton one time again traveled to Europe, this time to research how glass was taught in universities there. He found zip that he could bring back to the U.S. to aid him brainwash art students at the University of Wisconsin. At that time, European drinking glass programs were geared solely toward industrial production. Students were non taught easily-on techniques with the material; the arts and crafts of working with hot glass was even so taught at the factories, under the apprenticeship organization. What Littleton did notice in Europe was a kindred spirit in glass art, the German Erwin Eisch, who is recognized today as a founder of European studio glass.^[13] Eisch had set up a pocket-sized piece of work area in his family'southward glass manufacturing plant in Frauenau for the production of his own drinking glass fine art. Trained equally a fine artist in the academies of Germany, he was largely self-taught every bit a glass blower and at the time produced his work with the help of the factory's craftsmen.^[xiv] The friendship begun when Littleton visited Eisch in Frauenau in 1962 lasted for the rest of Littleton's life, and had profound influence on the work of each. The two spent some of almost every summer together for the adjacent xxx years.^{[5] : 65}

Through the fall 1962 and spring 1963 semesters, Littleton taught glass in a garage at his Verona farm to six students under an independent written report programme. By the following year, based on the success of the Toledo workshops and the independent report course, he had secured Academy of Wisconsin funding to hire and equip an off-campus hot shop in Madison and dominance to offer a graduate level glass course.^{[2] : 13}

With the launching of the first college drinking glass plan Littleton said that he "... became a kind of evangelist for the medium."^[9] He gave lectures at university art departments throughout the United states about the potential of glass as a medium for the studio artist.^{[five] : 49} "Studio glass," to Littleton, meant easily-on glassblowing (every bit opposed to kiln-forming or cold-working) by the private creative person.^[xi]

As the drinking glass program grew, so did Littleton's work and reputation equally an creative person who used glass. In 1964, he had a solo exhibition at the Museum of Contemporary Crafts in New York. In 1966, a five-year retrospective, Harvey Littleton: Drinking glass, showed at the Milwaukee Art Center.

Littleton presented papers on his experiments in glassblowing at crafts conferences in the Us and elsewhere. In 1968, Labino'due south book Visual Art in Glass ^[15] became the commencement book to exist written near the studio glass movement. It was followed in 1971 by Glassblowing: A Search for Form, by Harvey K. Littleton.^[16]

Through the University's glass program, Littleton taught many who became prominent glass artists, and who, in turn, spread the word most studio glassmaking into academic institutions throughout the United States. These included Bill Boysen, who originated the glass program at Southern Illinois University Carbondale and taught there for many years; Dale Chihuly, who developed the drinking glass plan (which had been started by Norm Schulman) at the Rhode Island Schoolhouse of Blueprint and later was a founder of Pilchuck Drinking glass Schoolhouse in Stanwood, Washington;^{[3] : 9–10} Fritz Dreisbach, teacher at more than than 130 institutions around the earth over his career; Henry Halem, who introduced drinking glass at Kent Land Academy; Sam Herman, who took the studio glass movement to United kingdom; Curt Hoard, originator of a glass program at the University of Minnesota; Marvin Lipofsky, who started drinking glass programs at the University of California, Berkeley^{[2] : 15} and at California College of Arts and Crafts; Fred Marcus, who started programs at Illinois State Academy, the Academy of Illinois, and University of California, Los Angeles; Tom McGlauchlin, who taught the second-ever grade in drinking glass at an American higher, at the University of Iowa;^[17] Christopher Ries; Michael Taylor, who headed the glass plan at the Rochester Institute of Technology for almost 20 years; and Michael Whitley, initiator of a drinking glass plan at Primal Washington State Higher.^{[5] : 72}

Throughout these years a steady stream of visitors from elsewhere in the United states of america, and from Europe, came to Madison, where they observed and learned, and occasionally demonstrated their ain skills. Many carried the idea of studio glass back to their abode institutions.^[5]

Littleton served every bit the chairman of the University of Wisconsin art department from 1964–1967 and from 1969–1971. He retired from teaching in 1976, in social club to devote his full attending to making work in glass. In 1977 Littleton was named professor emeritus of art at the University of Wisconsin, Madison.

"Technique is cheap" [edit]

In 1972 Littleton was at the Seventh National Sculpture Conference in Lawrence, Kansas when he uttered the words, "Technique is cheap."^{[5] : 93–94} The argument touched off a fence that even so finds currency among glass artists: Should technique, or content, take precedence in glass art?^{[Notes 4]}

This was a question that Littleton had apparently been thinking nearly for some time. In his 1971 book, Glassblowing: A Search for Class, he wrote:

The method used by the contemporary artist is a abiding probing and questioning of the standards of the past and the definitions of the present to find an opening for new form statements in the material and process. It is fifty-fifty said that this search is an end in itself. Although knowledge of chemistry or physics as they apply to glass will augment the creative person'southward possibilities, it cannot create them. Tools can be made, furnaces and annealing ovens can be congenital cheaply. But it is through the insatiable, adventurous urge of the artist to find the essence of drinking glass that his own means of expression will sally.^{[16] : 13}

The offhand phrase "technique is cheap" soon took on a life of its own. For some it was a rallying weep to observe the inherent possibilities of a "new" medium for the artist; for others the statement expressed cypher more than than arrogant disdain for the timeless value of craftsmanship. In a 2001 interview for the Smithsonian's Archives of American Fine art, Littleton commented on what he termed the "misinterpretation" of the phrase:

All I meant by that is that technique is available to everybody, that you lot can read technique, if yous accept any background. Technique in and of itself is nil. But technique in the hands of a strong, creative person, like Voulkos or Dante Marioni, takes on another dimension.^{[6] : 23}

Behind this point is another, equally expressed by author and curator William Warmus: "It might even be argued that Littleton sought long-term to put the artist back in control of the factory, even every bit he sought to put the furnace into the artist's studio."^[19]

For Littleton, the image of technique vs. content was to be plant in manufactory-made fine art glass, where the division of labor was inflexible. Traditionally the art glass designer was a draftsman who made a conceptual drawing for a glass object, then passed it along to industry craftsmen for execution. According to Littleton, the factory designer "... is frustrated past the peculiar misplacement of his skill, and his inclusion in a process where little experimentation or interference is permitted.^{[16] : 17} As for the factory craftsman, his training under the apprenticeship system "limited him to one stage in the production of glass. This grooming could non set up anyone to office as an independent artist, but only to serve as a cog in the industrial machinery."^{[16] : 16}

Work in glass [edit]

Harvey Littleton, Yellow Crimson Sliced Descending Form (c. 1983) This 4-part glass sculpture is typical of the artist'southward "Arc" forms

In 1962 Littleton'south first pieces in blown glass were, like his before works in pottery, functional forms: vases, bowls and paperweights. His breakthrough to non-functional class came in 1963 when, with no purpose in mind, he remelted and finished a glass piece that he had earlier smashed in a fit of pique. The object lay in his studio for several weeks earlier he decided to grind the bottom. As Littleton recounts in his volume Glassblowing: A Search for Class, he brought the object into the house where "it aroused such contempt in my wife that I looked at it much more closely, finally deciding to send it to an exhibition. Its refusal there made me even more than obstinate, and I took information technology to New York ... I later on showed it to the curators of blueprint at the Museum of Modern Art. They, perhaps relating it to some other neo-Dada piece of work in the museum, purchased it for the Blueprint Drove."^{[16] : 134} This led to Littleton's mid-1960s series of broken-open up forms, and "Prunted," "Imploded" and "Exploded" forms.

These sculptures, particularly the "Prunted," or "Anthropomorpic," forms were heavily influenced Eisch. Soon subsequently Eisch's departure from a several-week period every bit artist-in-residence at Wisconsin in fall 1967, Littleton realized that he had unconsciously adopted his friend'south strongly personal figural style in his ain work, and began a radical change.^{[16] : 121} In a flow of a few weeks he eliminated references to the vessel and turned from complexity to a new vocabulary of simple, clean geometric shapes, forming graceful tubes, rods and columns of clear drinking glass encasing lines of colour, that he cut and grouped together on bases of plate glass or steel.^{[5] : 73}

Allowing the pull of gravity to stretch and bend hot glass while on the blowpipe or punty led Littleton to his "Folded Forms" and "Loops" serial, which connected until 1979. His "Eye" forms, also from the 1970s, take the form of concentric cups of diverse colors in diminishing sizes that nestle one inside the next.^{[2] : 46}

Littleton explored cutting and slumping industrial glass, including plate and optic drinking glass, outset in 1970. In sculptures such every bit Do Not Spindle and Baloney Box, slumped squares of glass are transfixed by a contumely rod. In Rock Around the Clock, a bent piece of optic drinking glass bar from Corning Glass Works in Danville, Virginia, tin be set rocking on its statuary plate glass base with a touch on of the paw.

Littleton incorporated optical lens blanks manufactured by Corning with his own hot-worked glass. In each case he sandblasted and cut the optical disc, draping, and in 1 instance piercing, the disc with fluid, cased glass forms.^{[2] : 64} These were followed, in 1978, by Littleton's Solid Geometry series, in which heavy cased glass forms were cutting into trapezoidal, spheroid and ovoid shapes and highly polished.^{[2] : 72}

Perhaps Littleton's best known body of work is his "Topological Geometry" group of serial, made betwixt 1983 and 1989. Included under this heading are his signature "Arc" forms and "Crowns," likewise as his late "Lyrical Motion" and "Implied Movement" sculptural groups. In 1989 chronic back issues forced Littleton to retire from working in hot drinking glass.^{[2] : 78}

In 1974, Littleton also began experimenting with vitreography^{[Notes 5]} (printmaking using glass plates). He received a enquiry grant from the University in 1975 to proceed this piece of work, and his first prints from this process were shown in a show at the Madison Art Center. When he left Wisconsin in 1977 and established his ain studio in Spruce Pine, North Carolina, he designated one room in the studio for printmaking. Past 1981, he had hired a part-fourth dimension printmaker, and in 1983 he built a divide facility for the presses. He regularly invited artists in various media to explore the possibilities. Littleton's own prints were ofttimes uncomplicated geometric shapes, and sometimes made from shotgun-shattered safety glass. When back bug forced him to end working in hot glass in 1990, Littleton continued his printmaking.^[5]

Personal life [edit]

Littleton was married to Bess Tamura Littleton in 1947.^{[2] : 7} She predeceased him on October 8, 2009.^{[20] [21]} The couple had five children, one of whom died in her early youth. The surviving four all piece of work in the field of glass fine art. Daughter Carol L. Shay is the curator at Littleton Studios; Tom Littleton owns and manages Spruce Pino Batch Company (founded past his father), which supplies batch (the dry ingredients of which glass is made) and colors to artists and art departments around the U.S.; Maurine Littleton is the owner and director of Maurine Littleton Gallery which specializes in glass art, in Washington, DC.^{[5] : 134–136} With his wife and collaborative partner, Kate Vogel, John Littleton is a glass artist in Bakersville, North Carolina.^{[5] : 121–122}

Harvey Littleton died on December 13, 2013, aged 91 at his home in Bandbox Pine, Due north Carolina.^[22]

Public collections [edit]

Sources:^{[2] : 111, [23]}

• Chrysler Museum of Fine art (Norfolk, VA)
• Corning Museum of Glass (NY)
• Detroit Constitute of Arts (MI)
• Glasmuseet Ebeltoft (Denmark)
• Frauenau Glass Museum (Germany)
• High Museum of Fine art (Atlanta, GA)
• Hokkaido Museum of Modern Art (Sapporo, Japan)
• Indianapolis Museum of Fine art (IN)
• Kunstgewerbemuseum Berlin (Germany)
• Kunstmuseum der Veste Coburg (Coburg, Frg)
• Leigh Yawkey Woodson Art Museum (Wausau, WI)
• Los Angeles Canton Museum of Art (CA)
• Memphis Brooks Museum of Art (TN)
• Metropolitan Museum of Fine art (New York, NY)
• Milwaukee Art Museum (WI)
• Morris Museum (Morristown, NJ)
• Museum Angewandte Kunst (Frankfurt, Federal republic of germany)
• Museum of Applied Arts, Vienna (Republic of austria)
• Museum of Arts & Blueprint (New York, NY)
• Museum Boijmans van Beuningen (Rotterdam, Netherlands)
• Museum of Decorative Arts, Prague (Czech Commonwealth)
• Museum of Design Zürich (Switzerland)
• Museum of Fine Arts, Houston (TX)
• Museum für Kunst und Gewerbe Hamburg (Germany)
• Museum of Modern Fine art (New York, NY)
• National Museum of Modern Art, Kyoto (Japan)
• New Orleans Museum of Fine art (LA)
• Smithsonian American Art Museum (Washington, DC)
• Toledo Museum of Fine art (OH)
• Victoria and Albert Museum (London, England)

Notes [edit]

1. ^ Corning Free University was one of two high schools in Corning from the 1920s until 1963, when new high schools opened and CFA became a middle school. CFA closed its doors in 2014, and the building was converted to luxury apartments.^[7]
2. ^ Littleton's offset glass casting is in the collection of the Corning Museum of Glass (CMOG). William Warmus, the Curator of Modern Drinking glass at CMOG from 1978 to 1984, has said that the making of this piece was "the founding event of gimmicky drinking glass."^[8]
3. ^ Littleton made iv castings, and an additional 4 were fabricated at Corning after he had returned to Michigan. The commencement casting, which Littleton did extra common cold-working on, was shown in the annual Exhibition for Michigan Artists at the Detroit Institute of Arts, and was caused by the Arnot Art Museum in Elmira, New York, where it remains equally of 2017.^[5]
4. ^ In glass sculptor Paul Stankard's words, "Is studio glass craft or art?" Stankard writes that he "... interpreted the statement ["Technique is cheap"] to mean that the idea was more than important than the skilled virtuosity required to express it." Stankard, a well-known flameworker whose art lies in delicately rendered plant, insect and human being forms encapsulated in crystal, finds "... this philosophical approach to art-making in glass fascinating" but contrary to his own approach, where mastering a high level of skill was prerequisite to the execution of his ideas. "... my work demanded a delivery to technique, which was not cheap for me, because it required years of practice and experimentation to master ..."^{[18] : 82}
5. ^ The term "vitreography" was non coined until the mid-1980s, by Connor Everts while visiting Littleton'south studio (run across vitreography).

References [edit]

1. ^ "Harvey Yard. Littleton". Smithsonian American Art Museum. Retrieved September 26, 2010.
2. ^ ^{a b c d e f yard h i j k l k n o p q r} Byrd, Joan Falconer (1984) "Harvey M. Littleton: A Retrospective Exhibition", Loftier Museum of Fine art, Atlanta, Georgia 1984 ISBN 978-0939802203
3. ^ ^{a b} Klein, Dan (2001) Artists in Glass: Tardily Twentieth Century Masters in Glass, Mitchell Beasley, London 2001
4. ^ ^{a b} Byrd, Joan Falconer (1980) "Harvey Littleton, Pioneer in American Studio Glass", American Arts and crafts, Vol. xl No. ane, Feb/March 1980
5. ^ ^{a b c d e f thou h i j grand 50 m north o p q r s t u v west x y z aa} Byrd, Joan Falconer (2011). Harvey K. Littleton: A Life in Drinking glass. New York: Skira Rizzoli Publications, Inc. ISBN978-0-8478-3818-9.
6. ^ ^{a b c d e} Byrd, Joan Falconer (2001), "Interview of Harvey Thousand. Littleton conducted by Joan Falconer Byrd, March xv, 2001", Nanette L. Laitman Documentation Project for Craft in America, Smithsonian Archives of American Art
7. ^ The Leader, Corning, Friday 30 May 2014
8. ^ Warmus, William (2003). Burn and Form. Due west Palm Beach: Norton Museum of Art. ISBN9780943411392.
9. ^ ^{a b} Grasberg, Stuart (1997) Harvey One thousand. Littleton from Artseen!, video tape, Grasberg/Littleton, 2001
10. ^ Klein, Dan; Lloyd, Ward (1984). The History of Glass. London: Orbis Publishing Limited. ISBN0-517-68910 iii.
11. ^ ^{a b c} Lynn, Martha Drexler (2004). American Studio Drinking glass 1960-1990: An interpretive written report. Manchester, Vermont: Hudson Hills Press. ISBNone-55595-239-9.
12. ^ "Celebrating the 50th Ceremony of Studio Glass 2012". Art Alliance for Gimmicky Drinking glass. Retrieved May 14, 2017.
13. ^ Angus, Marker, "Erwin Eisch: My Life and Work" (A review of a lecture past Eisch), International Mag of Studio Glass website, archived [1] Original accessed 6/xiii/10; archived version accessed 5/vi/2017
14. ^ Eisch, Erwin (1992) "Harvey Thou. Littleton zum 70. Geburtstag" (unpaginated) Glasmuseum Frauenau, Frauenau, Germany 1992
15. ^ Labino, Dominick (1968). Visual Art in Glass. Dubuque, Iowa: Brown. OCLC 438466.
16. ^ ^{a b c d e f} Littleton, Harvey K. (1971). Glassblowing: A Search for Form. New York: Van Nostrand Reinhold. ISBN978-044224341-viii.
17. ^ Gutierrez, Jason C. (April 12, 2011). "In Memoriam: Tom McGlauchlin". UrbanGlass.
18. ^ Stankard, Paul (2007). No Greenish Berries or Leaves. Blacksburg, VA: McDonald & Woodward Publishing Company. ISBN978-0-939923-55-vii.
19. ^ Warmus, William (1998) "Harvey Littleton: Glass Master", p. 7, Urbanglass Quarterly, Special Harvey Littleton Upshot, 72, Fall 1998
20. ^ Scripps Treasure Coast Newspapers, Sun, October eleven, 2009, page B5
21. ^ "Bess T. Littleton (Obituary)". Legacy.com Obituaries. Legacy.com. Retrieved May 6, 2017.
22. ^ Vitello, Paul (January 4, 2014). "Harvey K. Littleton, A Pioneer in the Art of Drinking glass, Dies at 91". The New York Times . Retrieved May vi, 2017.
23. ^ "Harvey Littleton Biography". Maurine Littleton Gallery . Retrieved May seven, 2017.

hoerrtiour1974.blogspot.com

Source: https://en.wikipedia.org/wiki/Harvey_Littleton

Share this post