From Burgundy to Brooklyn: Eve George’s Glass Blowing Journey

Between the 1860s and 1910s, Venetian glass, particularly from the island of Murano, emerged as a highly coveted luxury item globally, captivating both American elites and artists. This period saw a significant cultural impact in the United States, with homes and institutions being adorned with these glass creations. Art critic James Jackson Jarves, for instance, accumulated approximately 300 pieces, which he later donated to the Metropolitan Museum of Art. American artists residing abroad not only depicted glass objects in their works but also captured the essence of the Venetian glassmaking industry, including glass blowers, bead stringers, and glowing furnaces, in their paintings, watercolors, and prints. Venice had a long-standing history of glass production dating back to the Middle Ages. However, its economic decline, loss of political autonomy, and high tariffs in the 18th and early 19th centuries led to a cessation of its 500-year-old glassmaking tradition. The city itself also fell into disrepair by the 1850s. The revival of Venetian glassmaking began when Antonio Salviati, a lawyer, observed the deteriorating mosaics of St. Mark’s Basilica. He established a mosaic and glassmaking manufacturing business, bringing together descendants of old glassmaking families who helped rediscover lost techniques from the Renaissance and ancient Rome. To expand his enterprise, Salviati opened a showroom in London, exhibited his works at international fairs, and distributed his glass through esteemed American retailers like Tiffany & Co. His workers, meanwhile, developed innovative techniques and styles that attracted numerous American collectors, tourists, and artists. The book, "Sargent, Whistler, and Venetian Glass: American Artists and the Magic of Murano," edited by Crawford Alexander Mann III and published by Princeton University Press, delves into this resurgence of Venetian glass and its influence on American concepts of taste, labor, and beauty during this critical era. This extensively illustrated book accompanies a traveling exhibition, which has been showcased at the Smithsonian American Art Museum in Washington, DC. Artists like James McNeill Whistler, who visited Venice in 1879, found the city and its glass intoxicating. His 1880 etching, "Nocturne: Furnace," illustrates a glassblower working at night, observed from a gondola. John Singer Sargent’s paintings depict young women engaged in labor within the city and factories, offering a realistic portrayal of the work involved in producing glass, lace, and other crafts. Other American artists like Ellen Day Hale focused on the electrification of glass street lights and lamps in Venice, while Louise Howland King Cox portrayed glass pieces as delicate elements of daily domestic life. Over time, Venetian glass profoundly influenced American glassmakers and consumers. Venice further solidified its artistic standing by establishing its biennale in 1895, where Murano glassworkers frequently held concurrent exhibitions of their creations. As the reputation of Venetian glass grew, its perceived value increasingly shifted towards fine art, as encapsulated by Oscar Wilde’s observation that a painting, in its primary aspect, possesses no more spiritual message than an exquisite fragment of Venetian glass. This historical account highlights the significant interplay between art, industry, and cultural exchange, demonstrating how Venetian glass transcended its functional purpose to become a symbol of beauty and artistic expression, deeply influencing American aesthetic sensibilities and artistic production during the late 19th and early 20th centuries. The book and accompanying exhibition serve as a testament to the enduring allure and historical significance of Murano glass. #VenetianGlass #AmericanArt #MuranoGlass #ArtHistory #GlassMaking #LuxuryItems #CulturalExchange #ArtExhibitions #PrincetonUniversityPress

Sophie Lou Jacobsen, a designer known for transforming everyday objects with a unique, cool aesthetic, has applied her distinctive vision to La Cantine, a new café in Brooklyn’s Bushwick neighborhood. Jacobsen, co-founder of Studio Sayso and graphic design firm Our Studio, approaches interior design by treating the space itself as an object, focusing first on shapes and materials before considering the layout. This philosophy guided her in creating a joyful and unexpected environment for La Cantine. Jacobsen's design for La Cantine successfully blends traditional European café elements with her contemporary, 'Pop-y' personal style. The owner, Ioana Hercberg, desired a space reminiscent of the warm, traditional cafés from her family's French and Spanish roots. Jacobsen achieved this fusion by incorporating elements like granite floor tiles, traditional tables, and a marble checkout counter, which ground the space in a classic European aesthetic. Simultaneously, she infused her signature touch through scalloped countertop edges, wavy curtains, tubular upholstery, and whimsical brass sconces, which were adapted from a previous design with Sarita Posada for Studio Sayso. Even the plates selected for the café feature curvy and colorful designs, further cementing Jacobsen's playful influence. A key aspect of Jacobsen's design approach for La Cantine was her use of color. Initially considering a pale pink palette, she ultimately opted for a more enduring scheme of creamy yellows, complemented by blue, blush, and green furniture and floral accents. These vibrant pops of color were crucial in adding a sense of adventure and joy to the space, which Jacobsen believes is an important element in her designs. The floral arrangements were crafted by Fleurotica, and the bathroom design was handled by Anahit Pogosian, contributing to the café's overall aesthetic. Cohesiveness was paramount in the creation of La Cantine, ensuring that every element, from the countertops and menus to the silverware and wall decor, harmonized aesthetically. Jacobsen emphasized the importance of having influence over all aspects of the design experience, including branding. While Charlotte Delarue designed the café's logo, the rest of the branding was a collaborative effort between Jacobsen and her boyfriend, Adrian Harwood, through their graphic design studio, Our Studio. This integrated approach, focusing on cohesiveness from the project's inception, played a significant role in delivering the café's distinct and inviting atmosphere, making it a well-designed destination for visitors in Bushwick. #interiorDesign #cafeDesign #sophieLouJacobsen #brooklynCafe #designTips #colorPalette #materialSelection #cohesiveDesign