Word: inlay
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Dates: during 1970-1979
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...their thespian sisters-the "great horizontals." But they were also votive objets de culte, focuses of sexual snobbery. In a like way, the most rarefied work of the art nouveau craftsmen was not accessible to a wide public. As the style spread through the decorative arts-furniture making, inlay, bookbinding, jewelry, glass-too much labor and fine material were devoured by it. It was, in very essence, elitist: the stylish style. But as Brunhammer rightly exclaims in the catalogue, "Thanks be for the snobisme that broke through the barriers between the arts and gave us such a profusion of fine...
...crystalline opacities resemble those of classical sumi-e ink painting, suggesting hills, river currents, islands or the wreathing of vapor. Dr. Compton likes to compare Kunimune's hamon to "low-lying mist on a swamp, with searchlights playing over it." These configurations are not seen as decoration, like inlay work or chasing on a Western sword...
...vines and shrubs were planted, the brooks that traversed it were turned, by an impressive feat of hydraulic engineering, into lakes and reservoirs; even the four systems of traffic circulation, which Olmsted designed with unusual finesse, still work admirably after more than a century. No detail, from the marble inlay of a niche or the angle of a fountain jet to the disposition of a hickory grove, escaped him or Vaux. The result was a masterpiece...
...hexagonal iron-brown dish bearing a figure of Juro, the dumpy little god of longevity. Korin had an almost miraculous sense of materials; witness his writing box, with a design of irises, pool and bridge. The iris leaves and stems are gold lacquer, the flowers mother-of-pearl inlay, the bridge columns are rendered in silver while the planks, which run diagonally across the lid and down the sides, are dull inlaid lead. What Renaissance casket would not look fussy and florid beside this container? But it was in painting that Korin's virtuosity showed; especially in his screen...
...contention," Feder declares, "is that anyone can appreciate Indian art, regardless of his knowledge, background or previous experience." Perhaps-but in a strictly limited way. Few people could encounter the carved ceremonial masks of the Northwest Coast Indians, the Tlingit. Kwakiutl or Tsimshian, with their exquisite shell-inlay work and flowing, knife-blade forms that so inexplicably resemble archaic Chinese bronze decoration, without feeling some instant response to the vitality of their stylistic language. Through their art runs a supreme capacity to make sensation concrete: what European artist, for instance, could develop a more concise epigram of a grizzly bear...