Vitrages online dating
In addition, he provided an extraordinary range of products, so that consumers at almost every economic level had access to his religion of beauty.
The visitor to the Morse Museum is invited to examine what a critic in 1900 called Tiffany’s “dumbfounding versatility”—from the lamps that were made in the thousands to the unique windows executed for special commissions or for the artist’s own use.
Tiffany’s aesthetic was based on his conviction that nature should be the primary source of design inspiration.
A desire to create a unified artistic expression culminated in the last house he designed in its entirety—his own.
Laurelton Hall, in Cold Spring Harbor, Long Island, was completed in 1904.
Opalescent glass, however, was firmly rejected by the other important school of the stained glass revival, which advocated the Gothic tradition of painting with enamel on clear, uniformly colored “antique” glass.
The passionate moral dimension of late 19th-century taste is clearly seen in Boston glassmaker Charles Connick’s declaration that his firm’s greatest contribution to stained glass was “rescuing it from the abysmal depth of opalescent picture windows.” Those, like Connick, who followed the medieval precedent of painting on clear glass, were in bitter opposition to Tiffany and to John La Farge, the artist who had developed opalescent glass about the same time as Tiffany, and was his chief competitor.
What was in Hitler's personal file kept by the Nazi Party's own intelligence agency, the SD?