View allAll Photos Tagged tiling
In Chiloé Island, Chile, traditional houses are entirely covered in wood tiles, measuring aroung 60x10 cm each (aprox. 24x4"). Originally all tiles were straight, but each owner tried to make his home unique by cutting the tiles in different shapes. Different styles emerged, and when shapes alone were not enough, owners started to combine, arrange and paint to create unique styles. The result is a immense variety of wood tiling.
In this collection I tried to show a selection of wood tilings, and I also tried to create a coding for identifying unique tiles and arrangements.
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Up against the garden plants in early spring these large tiles look pretty good. I glazed the "stars" to a rough clay body I made. This and most of my garden tiles come in in the winter.
Please join me in my blog “A Year of Art: Scientist Plunges into Art”
another test render of the animated islamic tiling method I've been playing with- same unfinished code, different tiling (4.6.12)
West 36th St and 7th Ave, NY
April 7, 2014
Taken immediately after i realized my pieceashit camera decided to delete all the photos i had taken hours ago at the Carnivorous Nights taxidermy extravaganza. Didn't really make up for the lost images.
In Chiloé Island, Chile, traditional houses are entirely covered in wood tiles, measuring aroung 60x10 cm each (aprox. 24x4"). Originally all tiles were straight, but each owner tried to make his home unique by cutting the tiles in different shapes. Different styles emerged, and when shapes alone were not enough, owners started to combine, arrange and paint to create unique styles. The result is a immense variety of wood tiling.
In this collection I tried to show a selection of wood tilings, and I also tried to create a coding for identifying unique tiles and arrangements.
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Mosaics created from handmade glazed ceramic tiles, from upcoming Applied Arts Workshop "Ceramic Mosaics", scheduled for Feb. 2010. The workshop will be led by ceramicist Kate Oggel.
Left side as viewed - tile made in Damascus in the late 16th century/17th century. Mould made, painted in turquoise, blue, brown/magenta and black under a colourless glaze. The design features a spray of flowers within an arabesque medallions. Width - 23 cm, Length - 22.1 cm & Thickness - 2 cm.
Right side as viewed - a similar tile sold by John Nicholson's Fine Art Auctioneers & Valuers
Purchased from Anthony Slayter-Ralph Fine Art through Ebay. Part of Lockwood de Forest II's collection. Lockwood de Forest II was born in New York in 1850, the son of Henry G. and Julia Weeks de Forest. The family were descendants of Jesse de Forest, a Huguenot exile who, in 1623, brought the first settlers from Holland to New Amsterdam. Encouraged by their parents, Lockwood and his three siblings were to develop lifelong interests in the arts. The eldest son, Robert Weeks {1848-1931}, became a lawyer and served as a trustee {and later president} of the Metropolitan Museum of Art in New York from 1889 until his death. Julia Brasher {1853-1910}, a devotee of painting and sculpture, wrote a book on the history of art and Henry Wheeler {1858-1938}, also a lawyer, was an avid art collector and amateur landscape architect.
Although he had begun to paint and draw somewhat earlier, it was during a visit to Rome in 1869 that the nineteen-year-old de Forest began to study art, taking painting lessons from the Italian landscapist Herman Corrodi. More important, it was on this same trip that Lockwood adopted American painter Frederic Edwin Church {1826-1900}, then on an extended stay abroad, as a mentor. According to de Forest, his affiliation with Church, a distant relation on his mother's side, was the strongest influence on his artistic maturation.
During his late twenties, following a pattern established in his childhood, de Forest made two extended sojourns abroad, in 1875-76 and 1877-78. These trips took him not only to the continental capitals but also the Middle East and North Africa. It was through browsing in Church's extensive library at Olana that de Forest's interest in the great art traditions of the East was kindled. From 1878 to about 1902, landscape painting was overshadowed by his activities centered around his preoccupation with the Indian architecture and Orientalist styled decor fashionable in late nineteenth century America. From 1879-83, de Forest, along with Louis Comfort Tiffany {founder of the American Arts & Crafts movement} was a partner in the interior decorating firm of Associated Artists. In 1879,de Forest married the former Meta Kemble, a grandaughter of Alfred V. du Pont, and visited India on his honeymoon, a nearly two year trip that he turned to his economic advantage, keeping his eyes peeled for objects and inspirations that would benefit Associated Artists. In Ahmadabad, he met Muggunbhai Hutheesing, a philanthropist whose woodcarving studio would become crucial to de Forest's career, partly to fill orders for his decorating firm, and also, to encourage continuance of the fast-disappearing Indian traditional handicrafts. Unlike European Orientalists, many of whom looked upon Asia and the Middle East with colonialist superiority, de Forest wanted to help the cause of Indian woodworkers and preserve traditional Indian arts and crafts. Part of him had a romantic response to the beauty, but he was pragmatic, too. Ms. Roberta Mayer, an art historian who has written a dissertation on de Forest says, "He wanted to make his art into a legitimate profession, a way to create beauty and make money at the same time". De Forest's work was exhibited at the Colonial and Indian Exhibition in London in 1886, and at the World's Columbian Exhibition seven years later, attracting an impressive array of clients: the steel king Andrew Carnegie, the transportation magnate Charles Tyson Yerkes, the hotelier Potter Palmer and even Mark Twain. De Forest was actively involved with the Indian workshop until after the turn of the century. In 1885 he had published a book on Indian architecture and in 1892-93 and in 1913 he made return trips to India.
Unfortunately the end of the nineteenth century brought with it the end of the Orientalist style in decor and de Forest's Indian experiment. By 1908, de Forest had sold his remaining stock of mouldings and furniture to his old friend Tiffany. De Forest again turned his attention to landscape painting and after beginning to winter in Santa Barbara, California sometime between 1889 and 1902 he eventually built a house there, settling permanently in 1922. De Forest did however, continue designing and decorating Indianate houses in the East, Midwest and West. His last and largest, the Dean's residence at Bryn Mawr College, was completed in 1919.
Lockwood de Forest II died in Santa Barbara in 1932.
Tiles in the casa de Murillo in Seville. Blue and white is a very sixteenth century preference, but these ones add yellow and a splash of green for a more lively feel. I also like the op-art effect of the little cubes.
'Cinderella' tile panel, painted tin-glazed earthenware, made by Morris, Faulkner and Co, 1863. Cinderella tiles designed by Burne Jones and painted by Lucy Faulkner. Blue and White 'swan' tiles designed by Philip Webb. Panel made as an overmantel for 'The Hill', Witley, in Surrey, home of artist Myles Birket Foster who commissioned the work and was an early patron and supporter of William Morris' work : detail
Hero Arts dotted flower background CG330
Memory box Piestra tile
For more info please visit
keepintouchcards.blogspot.com/2015/01/muse-challenge-101....
Toynbee tile: 37th and Walnut Streets, Philadelphia, PA.
For more information, see "Resurrect Dead: Uncovering What Lies Beneath," my review of Jon Foy's film Resurrect Dead: The Mystery of the Toynbee Tiles, and the Wikipedia article "Toynbee tiles."
Update: A road resurfacing obliterated this tile in early August, 2012.
Not only did the Charles M. Schulz Museum use these tiles as an accent for the bathrooms, they were also for sale in the gift shop. Not only that, but in the lobby there was a giant mural of Lucy pulling the football away from Charlie Brown made out of different comic strip tiles. (Unfortunately, we weren't allowed to take photos there.)
Only about 10 of the strips were for sale in the gift shop. I don't know how they picked those particular strips...