鹅卵石挤压窗 - 美国大都会艺术博物馆展品查阅

品名（中）	鹅卵石挤压窗
品名（英）	Squash Window with Pebbles
入馆年号	2015年，2015.707
策展部门	美国之翼（The American Wing）
创作者	Louis C. Tiffany【1848 至 1933】【美国人】
创作年份	公元 1885 - 公元 1890
创作地区	制造于: 美国, 纽约, 纽约（Made in: United States, New York, New York）
分类
尺寸	24 × 24 英寸 (61 × 61 厘米)
介绍（中）	Louis Comfort Tiffany（1848–1933）是二十世纪之交最著名的艺术家之一。在19世纪70年代至20世纪20年代的职业生涯中，他的作品包括绘画和几乎所有的装饰艺术媒介。他的海外旅行激发了他对近东和远东艺术的兴趣，这为他的装饰作品以及那些受自然启发的作品提供了灵感。同时，他体现了现代性，为他赢得了广泛的赞誉<蒂芙尼以其含铅玻璃窗而闻名。这个非凡的窗口期可以追溯到蒂芙尼职业生涯中最早、最具创造力的时期。窗户中央面板上抽象的植物花朵、搅动的玻璃藤、实验性的"五彩纸屑"玻璃，以及发现的半透明海滩鹅卵石的边界，都有助于这项工作的创造性。它具有高度的实验性和先锋性，但呈现出复杂的美学。窗户也是玻璃工人艺术的一大亮点。用铅把大鹅卵石粘在窗户上的能力非常复杂，需要高超的技能。铅是彩色玻璃工人用来将玻璃碎片组装在一起的传统铅条。come被用于与新艺术运动风格相关的起伏和滚动图案引线上镀金的存在表明，窗户的设计是为了既能看到透射光，也能看到反射光。反射光下的中央面板变成了一个更抽象的白色和蓝色场景，看起来像是一条水母，这是世纪之交先锋艺术家喜欢的主题，"藤蔓"形成了水母的触角。面板顶部的两个原始金属环和不规则的框架表明，窗户从未打算永久安装，而是挂在窗户前的链条上。
介绍（英）	Louis Comfort Tiffany (1848–1933) was one of the most celebrated artists at the turn of the twentieth century. Throughout a career that spanned the 1870s through the 1920s, his work included painting and almost every decorative art medium. His travels abroad encouraged his interest in art from the Near and Far East, which informed his decorative work alongside those inspired by nature. Simultaneously, he embodied modernity, affording him wide-ranging acclaim. Tiffany is well known for his leaded-glass windows. This extraordinary window dates from the earliest and most inventive period of Tiffany’s career. The window’s abstracted vegetal blossom in the central panel, the agitated vines of glass, the experimental "confetti" glass, and the borders of found translucent beach pebbles, all contribute to the inventiveness of this work. It is highly experimental and avant-garde, yet presents a sophisticated aesthetic. The window is also a tour-de-force of the glazier’s art. The ability to affix large pebbles into a window using lead came, the traditional lead strips utilized by stained-glass workers to assemble glass pieces together, was highly complex and required great skill. The came has been used in undulating and scrolled patterns associated with the Art Nouveau style. The presence of gilding on the lead came suggests that the window was designed to be seen with both transmitted and reflected light. The central panel in reflected light transforms to an even more abstracted scene in shades of white and blue and appears to be a jelly fish, a motif favored by avant garde turn-of-the-century artists, with the "vines" forming the tentacles of the jelly fish. The presence of two original metal rings at the top of the panel and the irregular frame indicate that the window was never intended to be permanently installed, but rather to be hung from chains in front of a window.