|
Júlia Báthory (December 31, 1901 - May 3, 2000) was a Hungarian glass designer. Júlia Báthory was born in 1901 in Budapest into an aristocratic family. She pursued her high school studies in Debrecen and Budapest. She went to Germany in 1924, where she graduated at the Stadtschule für Angewendte Kunst in Munich. While there, she was a student of Adelbert Niemeyer, a painter and porcelain designer, and a family relative of the well known Brazilian architect, Oscar Niemeyer. She also took lectures from local painter Max Müller (not related to the orientalist). Her fellow student was Margit Kovács, the well known Hungarian ceramic artist, with whom she had a lifelong, close friendship. In the course of her graphic studies she became fascinated by glasswork and in 1929 she started her career as an independent glass-designer in Dessau. During this time she visited the Bauhaus. Between 1930 and 1931 she returned to Budapest. During this transitional period, she had to work in an intellectual vacuum and under hard conditions. Her exhibition in 1930 in Paris with sculptor (Imre Huszár ) was such a success that she decided to move there. She remained in Paris until December 1939. ==The Paris years - 1930 - 1940== Báthory's ten years in Paris were the most productive years of her life. During this time she visited excavations from the Roman period in the south of France, she travelled to Italy, Germany, Switzerland, and Belgium. She lived as a member of the Hungarian colony, formed by Endre Rozsda, Brassaï, and André Kertész. During her first years in Paris, she shared an apartment together with Andre Kertész and Margit Kovács. After her exhibition in 1930, she presented her first independent show in 1933. She received a diplome d'honeur at the 1937 Paris World's Fair. That same year, she made an interior column-panneau for Le Printemps. Báthory was a member of the Salon d'Automne, formed by Matisse and the fauvists, where famous French glass designers Maurice Marinot and René Lalique also exhibited. She produced revolutionary flat glass design artifacts for "La Crémmaiere", and made panneaux for the interior decoration department of Louis Cartier's store at Rue de la Paix. Her works were sold by Christofle in Paris. In 1934, she converted an old dairy hall near Sorbonne (7bis Rue Laromiguiere, Paris Ve) into her own atelier (or workshop), Studio La Girouette. Báthory produced her own designs in small series by the Swedish Orrefors Glasbruk. She got her flat glass boards from Belgium. She also dealt with interior decoration: she designed and produced furniture. She had great success not only with her figural panneau, but with her plaquettes, decorated with abstract animals. In 1937, the city of Paris bought her plaquette called ''The Hunting'' (La Chasse) and an engraved vase. These two pieces of art were later placed in the collection of modern art of the Louvre. She achieved her greatest success by working with cold glass, by monumental, sculptural drawing-derived forms, while her contemporaries, Lalique, Marinot and his circle made their art in glass-works and treated glass as one block. Her invention was a unique use of intaglio engraving, cutting, and the artistic use of the sand-blasting technique. She was able to create outstanding visual effect with their combination. French critiques used the expression "reliefs du verre" to describe her works. She visited home in 1938 to exhibit her work and received a Professional Silver Medal. That same year she was an invited exhibitor of the City of Paris. The following year she reached overwhelming success overseas. She returned from the 1939 New York World's Fair with a diploma of honor. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Júlia Báthory」の詳細全文を読む スポンサード リンク
|