This piece of jewelry was fabricated by Jack from 14K gold. Men preferred images of things they hunted such as foxes, rabbits, and birds. Upon completion of the grinding process, the pieces were painted with very fine brushes and paint to bring out the images. The deeper the carving, the more desirable they became. Following this, the images were painted on the back and then painstakingly ground into the back with minute scribing tools utilizing a diamond paste. The rough quartz crystal material, usually from Brazil, was first formed into a cabochon shape, sanded and polished on all sides including the back. As time went on, the technique became popular in England. Sometimes, signed pieces of Pradier’s work are found by current collectors of his artistry. The technique was developed by Emile Pradier in the 1860s in Belgium. The back of the cabochon was then sealed so that the painting was preserved as the piece was worn. In the late 19th and early 20th centuries, reverse crystal intaglio carving became popular with the images carved being painted with realistic oil paint colors and patterns. This would identify the sender while securing the document. The document was sealed with a wax that would have the intaglio stone pressed into it so a raised image was left behind. In ancient times, carving intaglio images of royalty served as a means to seal and authenticate a document. Ancient Carving PracticeĬarving images on stones dates back at least 15,000 years, and at that time it was a crude means of communication. The work produced by Jack Hoque is called reverse intaglio because it is carved on the reverse side of a transparent gem material, usually a clear quartz crystal. Inscriptions carved into stones result in making them into intaglio pieces. This is called an intaglio, pronounced in’taly?.Ĭameos are often carved on pendant-sized pieces, and intaglio pieces are often sized for use in rings. The reverse of this method is where the image is carved into the surface, leaving a negative image in the piece. This recently-completed piece showcases a multi-headed dragon. Glyptology includes carving an image on the front of a stone by removing the outer surfaces, leaving a raised image. The term derives from the Greek word glyptos – to carve. The carving of images on gemstones falls under the category of glyptology. After seeing his fantastic work, I decided to learn more about him as well as the type of work that he does. A quick glance into his case revealed an exceptional glyptic artist that carves in reverse intaglio. While we were setting up our case, a younger gentleman was setting up a case adjacent to ours. Because our granddaughter lives in Medford, this allowed us to turn a visit with her into an opportunity to see how societies outside our federation conduct their shows. I am the California Federation of Mineralogical Societies Membership Chairman, so we travel to numerous California shows to display our case while concurrently allowing me to learn more about the various gem and mineral societies and their activities. He directs PAV’s art programs which include indoor and outdoor contemporary art installations and exhibitions, notably investigating Living Art.Recently my wife, Pat, and I traveled to Medford, Oregon, to attend the annual Roxy Ann Gem and Mineral Society show. He also conceived Parco Arte Vivente (PAV), an experimental center for contemporary art and a testament to his commitment to art in nature, which opened in 2008 in his hometown of Turin. Along with Claude Faure and Piotr Kowalski, he formed the International Association Ars Technica. With a continued emphasis on the individual’s unique experience with his art, Gilardi began the artistic research project IXIANA in 1985, presented at Parc de la Villette in Paris, France, where he invited the public to artistically experiment with new digital technologies. He collaborated on shows for the Stedelijk Museum in Amsterdam, Netherlands and the Bern Kunsthalle in Bern, Switzerland. He pivoted his art practice to engage with the new artistic trends of the late 1960s, including Arte Povera, Land Art, and Antiform Art, bringing these trends to the international stage. He created his first pieces in polyurethane foam in 1964, and in 1965 began working on his Tappeto-Natura (Nature-Carpet) series which became a central part of his oeuvre. He has exhibited internationally in Paris, Brussels, Cologne, Hamburg, Amsterdam and New York, presenting innovative and immersive ecological works. By focusing on art experiences and entering a real debate at the heart of the avant-garde that defined the 1960s, he arrived at theorizing “Microemotive Art.” Piero Gilardi (b.1942, Turin, Italy) was one of the protagonists of the Arte Povera movement.
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