PURDO ARTICLE OUT NOW

My article on 84 year old silversmith Dane Purdo is out now in the September/October 2009 issue of Silver Magazine: http://www.silvermag.com/. Some pictures of his work from the 1950s and an excerpt below. See my previous for more on Purdo.

In the 1950s and early 1960s, regional and national juried craft shows were an important and exciting aspect of the crafts scene. It was an honor to be invited to show one’s work and a further distinction to be recognized by an award or prize. Purdo exhibited in numerous competitive shows throughout his career and served as a juror at many as well. His display at the Wichita Art Association’s Decorative Arts and Ceramics exhibition received a special award for best group of works in metal three years in a row, from 1959 to 1961. Purdo participated in the Fiber, Clay, Metal biennial at the St. Paul Gallery in Minnesota in 1955, 1957, and 1959. From the 1959 biennial, one of his pieces was selected by the United States Information Agency to be exhibited abroad in a show of works by American craftspeople. His 1964 entry to the Annual Exhibition of Michigan Artist-Craftsmen at the Detroit Institute of Arts received the highest honor awarded, the Founder’s Society Purchase Prize. In all, Purdo exhibited in almost seventy shows over a period of nearly forty years.

After 1991, Purdo continued to make jewelry and now enjoys complete retirement in Appleton. In conjunction with the 1958 Fulbright exhibition, Edgar Kaufmann, Jr. wrote that “in design, as in other fields, we are learning that America’s advantages, while great, are not guaranteed; we can maintain them best by a friendly participation in world activity and in the accompanying criticism and progress.”7 E. Dane Purdo’s career was marked by participation in the crafts community on the regional, national, and international levels—as a student, teacher, exhibitor, colleague, and craftsman. The words he applied to the rim of a 1961 punch bowl, although written by Ben Johnson 400 years ago, would seem to be the message that Purdo has sent out to those who have had the pleasure to use and view his works in silver: “Let those who are learned, sophisticated, cheerful and honest gather around.”

THE BRICK HOUSE

Aesthete's Lament recently had a fascinating post about , Mrs Paul Mellon's extraordinary garden library at Oak Spring, Upperville, Virginia:
http://aestheteslament.blogspot.com/2009/08/dream-house-mrs-mellons-garden-library.html

More about the library at its own website:
http://www.oakspring.org/

The library is one of several structures on the Mellon's extensive property. I had the opportunity to visit the Mellon's estate about 20 years ago. Although I did not visit the library I had the great privilege to spend an afternoon at the Brick House, a large house on the property that the Mellons used as a gallery for their collection of British sporting art and their large group of Degas waxes. The guests that day were myself, my brother Charles and our friend Kristin Leachman who is a neighbor of the Mellon's. There was no "tour guide" and in fact we had the house completely to ourselves. We were simply visiting as neighbors and art lovers (I am told, though, that the requests to visit submitted by many eminent art historians over the years were declined). The décor was reminiscent of an English country house with walls carefully painted with oil glaze over pale ground in a delicate striated effect. There were very large rooms (a large gallery with several sporting paintings by George Stubbs) and very small ones (a cozy den or reading room with little ivory ornaments displayed on the lamp table). The Degas gallery was pale pink and green with the waxes, including the Little Dancer, displayed on open pedestals (no plexi covers). Degas' fingerprints were easy to discern on the wax. After Mr. Mellon died in 1999 the collections were dispersed with the sporting art going to the Virginia Museum of Fine Art and the Yale Center for British Art and the Degas sculptures going to the National Gallery of Art. After the dispersal of the collection a little booklet was sent out as a reminiscence of the Brick House, to those who had enjoyed its pleasures (see scan of cover below). The booklet tells some of the history of the house:

The Brick House at Oak Spring, Upperville, Virginia was completed in 1941 as the residence of Paul and Mary Mellon. The architect, William Adams Delano of New York, had been persuaded by the Mellons to copy the principal exterior features of the Hammond-Harwood House in Annapolis Maryland . . . the house was occupied by the family until the death of Mary Mellon in October of 1946. . . . Paul Mellon and Bunny Lambert Lloyd were married in 1948 . . . they decided to turn the Brick House into a library and gallery . . .

The black-and-white photo below is from the Gottscho-Schleisner archive where there are many photos of the Brick House, however they were taken soon after the house was built and before it was remodeled by architect Page Cross in 1961. Nevertheless there are great pictures to be seen in the archive at the Library of Congress:
http://memory.loc.gov/ammem/collections/gottscho/index.html

THE WARDROBE OF MARIE JOSE OF SAVOY AT THE MONA BISMARCK FOUNDATION

If I make it to Paris in the next few months as I plan I will definitely go see the exhibition of the wardrobe of Marie Jose of Savoy (who was briefly the Queen of Italy) at the Mona Bismarck Foundation:

http://www.monabismarck.org/current.html

PALACES AND VILLAS IN BELARUS

I'm planning a trip to Paris soon (I hope it's soon) but am also thinking of other places I'd like to go someday. I'd love to go to Eastern Europe--like seriously EASTern Europe: Belarus, Romania, Ukraine. I started peeking around the internet and was fascinated to discover that their are some great historic houses in Belarus--who knew they had palaces there? Highlights below; more details and more palaces and villas at:
http://www.eng.belarustourism.by/

Snov:

On an open terrace of the bank of the small river Snovka there rests a monument of classical architecture — the Rdultowski Family Residence. The palace-and-park ensemble was built in 1827 by architect Tychetski. The palace has a very impressive look — it was 140 metres long with 100 rooms and a spacious hall. There was an English park around the palace with a small artificial water pond. The park was cut into groves by a system of water channels. Today the Palace of Snov is recognized cultural and historical value in Belarus.

Snov:

Loshitsa:

The Farmstead of Loshitsa is one of the most romantic places of the Belarusian capital. Visitors are equally attracted to the beauty of the park and the mystery of the place. Loshitsa was first mentioned in the chronicles in 1557 as the land of the Drutski Count Family. In 1582 they built a stone house at the juncture of the River Svisloch and the River Losha. In 1719 the place was bought by Jerzi Antoni Prushinski. The Pruzhinskis had been in ownership of the farmstead for over 150 years. Each proprietor would add something to the place to make it one of the most beautiful residences in the neighbourhoodThe last owner of the farmstead was Yevstafi Liubanski, who turned a provincial house into modern residence for his bride Jadwiga to enjoy. The life story of Yevstafi Liubanski is a sad one ― in 1905 Jadwiga drowned at the most beautiful place in the park. To commemorate his wife the inconsolable Yevstafi planted near the mansion a Manchurian apricot-tree ― the only such tree in Belarus. Legend has it that since then at night during the apricot blooming season in the park of Loshitsa one may come across the White Lady ― the ghost of the drowned beauty. They say she is keen on prophesying the fate of loving couples that happen to wander into the park at night.

Loshitsa:

Zhemyslav:

The Zhemyslavl farmstead on the left bank of the River Gavia, an 18-19th century architectural monument, looks very much like Lazenki — the residence of Poland’s last King Stanislaw August. Lazenki is also known as the Isle Palace. The palace-and-park ensemble was built by the Umestowski Count Family, who acquired ownership of the place in 1805. In 1828 the governor of Oshmyany District Kazimierz Umestowski got down to rebuilding the big wooden tiled roof baroque house he had bought along with the farmstead. He added two brick pavilions with pillar-resting porticos, a cellar, a hothouse, stabled and a manege. After Kazimierz died in 1863 his wife Yuzefa continued rebuilding the house. Mrs. Umestowski hired one popular architects of the time — a certain Marconi — to make a copy of the Lazenki Royal Residence, built in 1784-1795.
It was a classical two-storied building with arch windows and stained glass in them. There was one open loggia resting on four pillars above the central entrance. On both sides of the palace there were balconies. The inside of the building was also copied from the royal residence. The rooms were heated with marble wood-burning stoves, Paris style. The walls were decorated with oak panels and frescos. There was a small English park around the residence with a boat station. The park was set up on both sides of the river, so one has to make a boat trip to get to the warehouses, the stables, the family chapel, the winery or the cheese mill. During WWI in 1914 the Germans would convert the place into a rehabilitation centre for army officers. After the end of the civil war and the armed conflict between the Soviets and Poland the farmstead found itself on the territory of Western Belarus that had not become part of the USSR till 1939.
The last owner of the farmstead, Wladislaw Umestowski donated the place to the University of Vilnius to be used as a scientific base for land exploration and agriculture. The farmstead along practically all buildings have survived all through the wars and upheavals of the 20th century.

Zhemyslav:

DANE PURDO

After a hiatus of several months I am blogging again! I just finished an article on silversmith E. Dane Purdo which will be published in the September issue of Silver Magazine. An excerpt and some pictures of his exquisite work below.

E. Dane Purdo's work in sterling silver displays the highest level of skill in both handcraftsmanship and design. His long career as a silversmith and teacher is highlighted by a distinguished list of exhibitions and a legacy of outstanding hollowware. . . . The sterling hollowware that Purdo created was characterized by carefully controlled contours, perfect balance between convex forms and concave outlines and mirror-smooth surfaces. The fitted lid and integral hinge on a 1957 teapot reveal perfection of technique and design. Occasional incidents of restrained ornament include little protuberances like a patch of mushrooms growing from the convex lid of pillbox and a "crown of thorns" disposed around the stem of a chalice which is visually balanced between prickly verisimilitude and gnarled abstraction. . . . In 1960 Purdo's hollowware was exhibited in a three-person exhibition, called "Dimensions 1960" at New Mexico Highlands University Art Gallery in Las Vegas, New Mexico. The other two exhibitors were weaver Lenore Tawney and ceramist Peter Voulkos, both renowned today for their pivotal positions in 20th century crafts. Writing in Craft Horizons magazine, Ray Drew acknowledged Purdo's "excellence of craftsmanship" and observed that the works shown were "quietly pleasing" but "not as unusual as the ceramics and weaving"

Shown below, works from 1955 to 1958:

THE DEATH OF JAMES LEE BYARS

The magnficent Death of James Lee Byars (1982--below) is on view at the Guggenheim Museum in a moderately successful show full of great art. The exhibition, “The Third Mind: American Artists Contemplate Asia, 1860- 1989” includes an exquisite small section of Japonisme in 19th century painting and one sculpture (Augustus Saint Gaudens' Adams Memorial), some wiorks by Morris Graves and then right on to abstract expressionism. From there on, the greater part of the show, it really should have been called 'The Zen Buddhist Influence on the Avante Garde." There are wonderful pieces by Agnes Martin, Walter de Maria, Robert Irwin et al., but who really cares about the theme. Zen contemplation is destroyed by the crowds and the noise in the Guggenheim. In any case just go to see work by Byars and the other art, as always.

NEW ORLEANS 2009

I was in New Orleans again, as well as Natchitoches and Baton Rouge Louisiana over the past few weeks. In New Orleans I had the wonderful opportunity to see the Mardi Gras Indians doing one of their occasional practice runs. As you may know the Indians are really Africans (or African-Americans, or African-French, or Afro-Creole or whatever). The men work all year on their hand beaded, sequined and feathered costumes. There was music, dancing in the street, grilled sausages and homemade pralines.

LECTURE IN LITTLE ROCK

I am pleased to announce that I am giving a lecture on American mid-20th Century enamel art/craft/design at the Arkansas Arts Center on March 31st. If you happen to be in Little Rock I hope you will attend. The AAC has an outstanding collection of 20th century crafts. Check out their website and some images from my lecture below:
http://www.arkarts.com/

Edward Winter

Edward Winter
Karl Drerup

Karl Drerup
Karl Drerup
Jean Ames

REGO PARK, NY

I visited Rego Park, Queens, New York, recently, to meet fellow crafter Fern Ellen Cohen (http://fernals.blogspot.com/). I LOVE Rego Park. Not sure that I'm ready to move there but it's a really nice, interesting place to spend an hour or two or three. There are beautiful places to live there, adorable little houses with lovely gardens and a small-scale 1950s tower-in-park development called Park City that is meticulously maintained and has all its original details, lobbies and modernistic entrances intact. There are amazing Russian groceries, an Uzbek pastry shop, Russian/Uzbek restaurants. Unfortunately many of the charming 1920s-30s houses have been altered and have lost some of their original details but many are still in original condition.

TCHELITCHEW AT THE MUSEUM OF THE CITY OF NEW YORK

I was pleasantly shocked when I visited the Museum of the City of New York the other day to find Pavel Tchelitchew's Hide and Seek hanging there. The painting is in the collection of the Museum of Modern Art and, despite it being rumored to be the "most popular" painting in the museum, has not been on view there in many years. It is at the MCNY as part of the exhibition Paris/New York: Design Fashion Culture 1925-1940:
http://www.mcny.org/exhibitions/current/paris-new-york-design-fashion-culture-1925-1940.html
The exhibition is worth seeing in any case but the opportunity to see Hide and Seek requires a visit. Since I'm blogging about Tchelitchew I might as well add a photo (below) of his Sleeping Pinheads, which is in my top ten favorite paintings by any artist. If I had the resources I'd buy Sleeping Pinheads and hang it in my living or dining room. Since I'm blogging about people with microcephaly check out the Foundation for Children With Microcephaly:
http://www.childrenwithmicro.org

Hide and Seek:

Sleeping Pinheads: