By Alice Cooney Frelinghuysen
This e-book offers Tiffany's works within the context of his occupation, discusses his creative issues and his devotion to nature, and sheds new gentle on his technical virtuosity.
Read or Download Louis Comfort Tiffany: At the Metropolitan Museum of Art PDF
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Additional resources for Louis Comfort Tiffany: At the Metropolitan Museum of Art
There are more people doing it; there are more people talking about it; there are more people noticing it. JH: I grew up in a house where fine art and comic book art were both appreciated-like Robert Crumb or Pogo. My dad bought me Mad Magazine when I was eight years old on summer vacation. Reading comics by great comic artists provided as much of an education for drawing as anything. VH: Do you think more people today believe they can make a living crafting than they did eight to 10 years ago?
My grandsons, though, always looked forward to crafting at Grandma's. CD: VH: Are you conscious of the community that you helped perpetuate just doing your job? Yes, when I look at my mail or meet people on the street, it makes me realize that, and it makes me feel good. It also makes me appreciative of my good fortune. CD: VH: Now that you're semi-retired, do you still have any desire to be creative, or are you crafted out? No, I'm not crafted out, though I discovered that I don't have all the time I thought I would have.
Embroidery is such an oral tradition that some of the best books out there are reprints. They're great, but not geared towards beginners, because it was assumed that your mother or grandmother had already taught you. There needed to be a resource that understood this new embroiderer, so that's really how I started Sublime Stitching. Of course, the Internet and blogging, and really the Zeitgeist of crafting, was starting to take shape at that time. The people who were doing it were all really aware of it.