- Hardcover: 384 pages
- Publisher: Rizzoli (May 18 2001)
- Language: English
- ISBN-10: 0847823067
- ISBN-13: 978-0847823062
- Product Dimensions: 26.2 x 5.8 x 36.8 cm
- Shipping Weight: 2.7 Kg
- Average Customer Review: 4.3 out of 5 stars See all reviews (6 customer reviews)
- Amazon Bestsellers Rank: #2,073,596 in Books (See Top 100 in Books)
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Product Details |
Product Description
Book Description
Visionary and prolific, Frank Lloyd Wright conceived leaded-glass windows for almost every one of his buildings between 1885 and 1923, his most celebrated years. His output was prodigious: an estimated 4,365 window designs for over 160 structures, more than 100 of which were realized. Here Julie L. Sloan presents the largest gathering of these windows ever published.
In this accessibly written, impressively researched volume, Sloan shows how Wright revolutionized a centuries-old art form. With the boldly abstract glass he called "light screens," he distanced himself from Louis Comfort Tiffany and John La Farge and invented a fully modern language of design. Wright's windows were integral to his architectural conceptions, as Sloan demonstrates with a wealth of illustrations--including rarely seen drawings and on-site photographs made especially for this book. In recreating the master's integration of his windows into his structures, the author brings to life such lavish landmarks as the Susan Lawrence Dana house, the Darwin D. Martin complex, and Hollyhock house, while she traces three phases in Wright's evolving language of geometric patterns.
According to Sloan, the master's vision grew from the curvilinear Queen Anne-style motifs of his earliest glass; through the chevrons, rectangles and autumnal palette of his famed Prarie-period windows; to the jazzy asymmetries, dancing triangles and primary colors of his 1911-23 work, when vanguard European art and architecture helped inspire his most joyous, innovative light screens. In the same years, Wright expanded his use of glass from the single opening to the casement, the clerestory and the skylight. "While providing harmonious ornament, control of illumination and privacy," Sloan writes, these ensembles of intricately patterned glass "negotiate the boundaries between interior space and exterior view."
Light Screens proposes a structuralist analysis of Wright's evolving typology of geometric forms and provides a cogent art-historical summary of what shaped them. Concise chapters describe the impact on Wright's glass of the Gothic Revival and Arts and Crafts movements, Japonisme, and Friedrich Froebel's educational exercises. Sloan also explains Wright's design theories and elliptical writings on glass. And she included useful reconstructions and little-known primary data: for example, on period terms and fabrication techniques for ornamental glass and on Wright's clients, assistants, and suppliers. Such rich detail commends this book to connoisseurs and collectors of 19th-and 20th -century glass and modern design alike. Groundbreaking in content and commanding in scope, it is essential reading scholars and enthusiasts of Wright.
About the Author
Julie L. Sloan is the preeminent authority on Wright's leaded glass and noted stained-glass scholar and conservator. She has taught at Columbia University, William College, and Rensselaer Polytechnic Institute. This volume and her catalogue Light Screens: The Leaded Glass of Frank Lloyd Wright represent nearly twenty years of research, supported by the National Endowment for the Arts and the Graham Foundation for Advanced Studies in Fine Arts. The catalogue accompanies a major traveling exhibition organized by Exhibitions International, New York, in cooperation with The Frank Lloyd Wright Foundation, Scottsdale, Arizona.
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Most helpful customer reviews
4.0 out of 5 stars
Lightscreens book reviewed....missing the 1950's glass......,
By
This review is from: Light Screens: Deluxe Edition (Hardcover)
Gee for this good of an indepth book it's missing some of Mr. Wrights art glass work. It appears to the author SLOAN of the book that Mr. Wright's executed art glass ended in 1924. HOW UNTRUE. What about the artglass in the Southern Florida University chapel? Or what about the Greek church in Madison Wisconsin? or what about the 1954 Beth Sholom Synagogue in Elkins Park, PA....the artglass above the pulpit?????? GEE GOOD research on the rest of it though.....lots of detail but she didn't do a good job on the rest of it.....by the way a sketch in Wright's drawings was done for the Greek Church in Madison, Wisc. originally to be christian "figurines"...the only sketch by Wright in artglass that was realistic other than his unexecuted "waterlilies" artglass that is known of and printed in color form today on rugs and prints. And gee I didn't even spend time to research this data, it was all known to me as an architect, & enthusiast. I'm also a member of the FLLW conservancy, FLLW Home & studio, Taliesin Fellows, and Taliesin Associates member. For non-architects who do books....CLUE: next time do thorough research since it makes your efforts and detailed work look shabby for so lengthy of detailed data excerted in your book. Good luck next time and PLEASE add a GOOD redone 2nd edition.
5.0 out of 5 stars
great book,
By Thomas Painter (Arlington Heights, Illinois USA) - See all my reviews
This review is from: Light Screens: Deluxe Edition (Hardcover)
This is a very well researched, well presented analysis of FLW's windows. It speaks for itself. The pictures are well chosen and do a very good job of illustrating the books themes and analysis.
5.0 out of 5 stars
Amazon's got it 180 degrees from "right" <grin>,
By
This review is from: Light Screens: Deluxe Edition (Hardcover)
The "cover" image shown with this book is flipped 180 degrees from its actual orientation. To see the book in its actual design, go to www.lightscreens.com ... both the hardcover catalog to the exhibition and what I call the "Big Book" (the slipcased 400-pager) are there. (The paperback catalog is available only in the museums where the exhibition is mounted.)Others have referred to the photographs as "bland." Well, I'd have to agree where the museums that own Wright windows are concerned; Wright intended to "bring the outside in," but museums for some reason insist on photographing his windows against a white background. Since I took most of the photographs in these books, let me tell you that I always photographed them with their backgrounds - the landscapes in the middle and long distance - integral to the windows themselves, as Wright intended. The drawings are smaller than Wright made them because any 9x12 book is smaller than Wright's drawings. <smile> And as for "came" vs. "leaded," the latter term is a commonly used generalization to describe any glass held in a metal matrix ... Wright usually used copper or brass came, but not exclusively. Since the book is in print after 20 years of research, the fact that its designer didn't meet the first reviewer's expectations or desires is beside the point. Until now there's been no definitive overview of Wright's stained glass. We should rejoice that this books exists ... and I do. Why do I rejoice? Beause I took most of the photos in the book (I'm the ALL of ALL/JLS in the credits) and I know how difficult it was to gain access to the [lived-in] homes of Wright homeowners, so I celebrate the fact that the author's been able to share this work with the world. It would otherwise be inaccessible.
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