As curious museum goers pass by the various displays, one in particular stands out. Within it are various bowls, vases, figurines, and other objects. Looking more closely I notice two vases. They are placed on a type of podium next to two figurines. They have a relatively thin stand compared to the body which gives them a bulbous shape. The plaque with the information on them states that the two vases are known as the pair of Potpourri Vases. It then goes on to state the specific form of the vases was not part of the Vincennes manufactory until 1752 was is given credit to a Jean-Claude Duplessis. The colors in the two vases are key to knowing when the two pieces were made. The blue was popular in Vincennes and Sèvres during the years of 1752 through 1763. The red color was used in works from the 1740s and onward. With this information, it was relatively easy to date the artifacts since Vincennes started using a different type of paint for its products during the 1780s (Geoffrey). The description also states the name of the vases is derived from the mistress of Louis XV, named Madam de Pompadour, who was an avid costumer of the manufactory.
The way the two vases are presented made them appear to be highly prized possessions. Since they were placed above a watering can, ewer and basin, and a basket, they look to be more valuable and more for decorative purposes. The vases are placed in a case with other household items. Therefore they are associated with decorations or objects that were used inside the house. The two vases were once used to hold scents such as potpourri (Wilson). There are a few holes placed in various spots around the vases which would allow the scents to escape and permeate the room or area (Wilson). The vase...
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...how how wealthy and comfortable they are. Objects in the house may not look nearly as grand and extravagant as they did in the past, but their purpose is the same. Human nature has not changed much in the past few centuries and the Potpourri vases are an excellent example of that.
Works Cited
Sassoon, Adrian
Vincennes and Sèvres Porcelain Acquired by the J. Paul Getty Museum in 1984
The J. Paul Getty Museum Journal
Wilson, Gillian. "Acquisitions Made by the Department of Decorative Arts, 1979 to Mid
" The J. Paul Getty Museum Journal
Touma, Josephine. "The element of fire: porcelain in France."
Geoffrey de Bellaigue
Sèvres Artists and Their Sources II: Engravings The Burlington Magazine
Dauterman, Carl Christian, John Philip O'Neill, and Rosanne Wasserman. Sèvres
Porcelain: Makers and Marks of the Eighteenth Century. Metropolitan Museum of
Art.
The Athenian vase can be identified as a red-figure Type B Kylix. The height of the vase vacillates between 12.1 and 12.3 centimeters, and the diameter of the foot is roughly 12.5 centimeters. Whereas the diameter of the mouth varies between 33.1 and 33.5 centimeters, the diameter with handles is close to 41.5 centimeters. The vase is completely restored, a condition in which pieces on the body of the vase are glued back together.
His last and final piece, which is very interesting, is called the "Stoneware Vase*" It has two curled spiral handles, suggestive of ancient or pre-historic civilizat...
The exhibition of recent stoneware vessels by Peter Voulkos at Frank Lloyd Gallery featured the sort of work on which the artist established reputation in the 1950s. The work was greeted with stunned amazement. However now it is too, but it's amazement of a different order -- the kind that comes from being in the presence of effortless artistic mastery. These astonishing vessels are truly amaising. Every ceramic artist knows that what goes into a kiln looks very different from what comes out, and although what comes out can be controlled to varying degrees, it's never certain. Uncertainty feels actively courted in Voulkos' vessels, and this embrace of chance gives them a surprisingly contradictory sense of ease. Critical to the emergence of a significant art scene in Los Angeles in the second half of the 1950s, the 75-year-old artist has lived in Northern California since 1959 and this was his only second solo show in an L.A gallery in 30 years.”These days, L.A. is recognized as a center for the production of contemporary art. But in the 1950s, the scene was slim -- few galleries and fewer museums. Despite the obscurity, a handful of solitary and determined artists broke ground here, stretching the inflexible definitions of what constitutes painting, sculpture and other media. Among these avant-gardists was Peter Voulkos.” In 1954, Voulkos was hired as chairman of the fledgling ceramics department at the L.A. County Art Institute, now Otis College of Art and Design, and during the five years that followed, he led what came to be known as the "Clay Revolution." Students like John Mason, Paul Soldner, Ken Price and Billy Al Bengston, all of whom went on to become respected artists, were among his foot soldiers in the battle to free clay from its handicraft associations.
The fruit sitting by the window shows that the two are extremely wealthy. During this time period, fruit was considered to be a luxury item and would have expensive to import. Placing fruit on a window ledge to rot shows how wealthy the couple is. Another symbol that describes the couple wealth is the wife’s dress.
These two different gifts play totally opposite role in XiuXiu’s life. The kaleidoscope represents intangible beauty and wont last long, and the apple is a sign of evil desire.
Antiques and Collecting Magazine 108.7 (2003): 24-30. MasterFILE Elite. Web. 29 Apr. 2014. Jordan, Gwen Hoerr.
On the Warka Vase shown on register 4 naked men carry three types of pottery and at least three of these pottery pieces hold some objects, this implies that all three types of pottery are holding some object or objects, since the men are taking the pottery to the same location. One of these pottery pieces appears to be a piece made to pour, and hold, liquids. This pouring vessel is again seen in an image on another vase (20), this vase seem t...
In the short story “The Possibility of Evil”, by Shirley Jackson, a woman named Ms. Strangeworth came off as a very sweet, self-minded woman who cared deeply about her roses. The author used several symbols to represent Ms. Strangeworth’s character. A symbol is something that represents another person or thing. One symbol that was used in this short story was roses. Ms. Strangeworth took pride in her home and the neighborhood it stood in. The most important thing about her home was the roses in her front yard making them a big symbol that uprises in this story. These roses were very special to Ms. Strangeworth and they were greatly admired by her and all the others who pass by them. In addition to the first, the reason these roses are a big
suggests that the house was built not only for function, but also to impress and
The third object is a withered rose which would symbolize donnies friendship with his supposed to be friends Bean and Chris. Bean and Chris are already best friends before they met donnie so it's like they let him be apart of it but not fully. As donnie described they are the rejects of school that no one likes. Bean, Chris and Donnie had a somewhat strong friendship but not strong enough they were done only friends and in the beginning they seem all get along fine they would swim together cheer each other on as one dived in the pool. But friendships never last Bean and Chris started to distance themselves from donnie and leaving him out he was no longer included in anything they did until eventually they cut him off all together. Donnie did
These personifications and imagery brings the house to life as it makes you feel and see things much
perspective. The room is austerely decorated in period style with heavy cypress-green curtains on the back and side walls. The gold of the curtain tresses is revisited...
The other objects in the paintings are subordinate to the skull. Both paintings use common objects that allude to wealth, beauty, and knowledge, such as jewelry, coins, flowers, and books. The passage of time is portrayed by an hourglass, a clock, and a burning candle. Each object has a unique symbolic meaning that contributes to the overall message the artists wanted to convey. Both of these paintings exhibit asymmetrical balance and not symmetrical balance. The scale and proportion of the objects depicted are
The furniture represents the Birling families longing for status. In the early 1900s social status was virtually everything. This was because socialism dominated the whole of the United Kingdom. The vertical social ladder of status was what controlled who was a "somebody" and who was a "nobody".
In modern society, Greek pottery is considered an art which is regarded as much for its aesthetic splendor as its historical significance. However, the role of pottery in ancient Greek culture was far more functional as its primary use was for the transportation and storage of such liquids as water and wine (Encyclopedia Britannica). Due to the durability of the fired clay material, Greek pottery is the only remaining art form that allows us to explore the evolution of this ancient culture. Through that examination, three distinct stylistic periods have been unveiled: Geometric, Orientalizing and Archaic. This analysis will detail these distinct periods as well as three design techniques prevalently used: black figure, red figure and white ground