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Două sute de ani de la naşterea arhitectului Miklós YBL *** Two Hundred Years from the Birth of Architect Miklós YBL
0.00 RON
Ár EUR-ban:
Built heritage represents the cultural proof of every people. The works of the Hungarian architect Miklós YBL represented for Hungarian architecture the reference of the 19th century. This year marks the 200th anniversary of his birth and therefore he is also celebrated by UNESCO. A great number of representative buildings bear his mark and the style promoted by him, the neo-Renaissance style. It is important to discover and to get to know his works, especially those in Transylvania. Some of them have been modified in the meantime (Károlyi Manor House), while others, built in his style, were tied with the architect’s name without having any proof in this sense (Teleki Manor House).
Keywords: Miklós Ybl, Károlyi Manor House, Teleki Manor House, neo-Renaissance style
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Great Works: Waves Breaking Against the Wind c.1835 (58.5cm x 89cm), by J M W Turner
Tate, London
Painting and ageing can be a vexed issue for painter and onlooker alike. Painting through old age can prove to be a trying experience. One of the problems is that when we blithely refer to the late style of, say, a Titian, a Monet, a Poussin or a Picasso, we do not necessarily know whether or not that so-called late style – be it the wholesale reprising of the themes of youth or the looseness of the brush strokes – is at least partially the consequence of physical decrepitude. It is not quite so problematic in the case of Poussin. In some of those late landscapes, we can actually see him trying to do what he could once have done so wonderfully, and being tragically thwarted by the uncontrollable tremor in his hand.
With Monet, matters get a little more complicated. He knew that his sight was failing in the later years of his life, and he spent a long time refusing to be operated upon. Was this a proud, fearful old man's natural cussedness or some belief that whatever was happening to his vision was somehow in line with his imaginative aspirations, and that he could therefore profit by his infirmities? We shall never really know the answer to the question of whether or not Monet's great Nymphéas series in the Orangerie in Paris suffers from being the work of a man who could barely see at all, nor, more generally speaking, how much the perceived success of a late style may or may not depend upon the narrowing intensity induced by cataracts or other eye problems.
We are equally puzzled by many of the later works of Turner. Slightly different questions arise in his case. Many of the works painted during the last decade and a half of his life were left unfinished, and they appeal to our modern sensibility for precisely this reason. We are in love with the provisional, the indefinite, and Turner gives us the indefinite in spades. But finished – or merely abandoned? He was about 60 years of age when he painted the turbulent scene on this page. A recent description of the painting is peppered with such words as perhaps and probably. Perhaps observed at Margate. Can we see Margate's lighthouse and harbour wall in the distance? Perhaps. Perhaps not. Had Turner himself observed the scene from a boat? Yet another, perhaps. There is nothing settled about this scene, and there will be nothing finally settled about its interpretation. Perhaps that is how Turner would have wanted it.
His paintings, time and again, were acts of bravura, showmanship. He would turn up to Varnishing Day at the Royal Academy with canvases underneath his arm that caused complete bemusement. They seemed to show nothing readable by the eye whatsoever. Then, on that last morning, Turner would get to work and over a period of hours he would wrest order from chaos as if by some miracle of the prestidigitator's art. Motifs would be defined, and a few details introduced that would anchor the work in its subject matter. It's a landscape after all!
Turner was not a man for minutiae of detail. You often feel that human beings were too fussy for him to be bothered over, and, it's true, he seldom did them justice. Here the eye strains to anchor itself to a shoreline; outlines of buildings half reveal themselves through the smoky brume. Our wishes for anything more concrete are thwarted. There is no relief from this relentless vision of the sea's untameability. There is no solid ground on which to anchor ourselves. Yes, it is the smoky brume itself, half-muffling all this elemental turbulence, that is as much the subject matter of the painting as anything else. The boiling, roiling sea – it seem to be at war with itself, thrashing back and forth in a frenzy of self-flagellation – is a medley of dramatically different colours. In fact, the extraordinarily sudden and dramatic colour contrasts here, shifting from a steely, muddy white through black to brown, are as startling as anything you would find in Monet, just as the sea itself looks and feels colder, more ferocious and more unruly than many of Monet's seas. And what of this passage of brown in the foreground of the painting? Have our eyes beached, all of a sudden, on a sandbank? There is added violence in the scratchiness of the frenzied brushstrokes, the way they seem to wheel back on each other.
There is such turmoil here, such an onrush and upsuck of air set against the slow burn of a setting sun – if it is indeed a setting sun, and not a kind of moody lapse into an inner vision of an apocalypse. Yes, it could easily be that. You can almost feel Turner seeing his way through these boiling seas to some vision of hell and judgement at least the equal of John Martin, his contemporary.
About the artist: J M W Turner (1775-1851)
The ferociously ambitious English painter J M W Turner was as productive as he was enigmatic. The son of a London barber, his work, with its extraordinarily wide-ranging explorations of light and colour, was mind-boggling in its breadth and audacity. His pictorial imagination soared into realms visited by few others of his or any other generation.
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Mark Privitera's Online Portfolio
I have always been an artist since childhood. When I was 15 I started painting with acrylics and liked it a lot. I took a graphic design class when I was 17 in high school well before it was highly technical.
I took quite a while off from school after high school and just worked. When I moved here in 96’ I tried acting, standup comedy etc. for a while then in 02’ got a degree in animation. I decided that I liked web design much more than animation and pursued this degree in multimedia and like it even more. I have just completed my Bachelor's degree at The Art Institute of California Los Angeles.
My purpose currently is to just keep making websites, editing video, and graphicly design. It's so much more fun not struggling as much with the technology and I can actually make a living now after so much school. I've started my own business and it has been doing well the last 5 months and hopefully will keep progressing. I will continue to market myself on the internet doing a vast range of multimedia and selling computers which is a new added element to "New Millennium Multimedia."
It looks like this contract I've been busy with the last 3 months is coming to a close so who knows where to now. I am confident and very happy to see all my work at The Art Institute Los Angeles finally come together!
Copyright Mark Privitera 2011
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Frankenthaler and Motherwell
Robert Motherwell & Helen Frankenthaler – A Match Made in Heaven
They seemed like the perfect couple. Both were popular painters and both came from fairly wealthy families. And they both enjoyed throwing extravagant parties for all of their artist friends. But there is definitely more to the story than just your typical romance when it comes to Robert Motherwell and Helen Frankenthaler. Here are some interesting details about these important American Abstract Expressionist artists, including who they are, their time together, and their contribution to the art world.
Who is Robert Motherwell?
Robert Motherwell was born on January 24, 1915 in Aberdeen, Washington. He is also referred to as one of the founders of Abstract Expressionism. He is best known for adding accidental elements to his work, which characterized his unique painting style. Motherwell is also recognized for his mastery of the art of collage.
Untitled (Blue/Tan) from London Series II, 1971
Untitled (BlueTan) from London Series II, 1971
After receiving a scholarship to study art at only eleven years old, Motherwell later went on to receive degrees in aesthetics from Stanford and Harvard. Largely self-taught, his works have captured attention all over the world for their use of simplicity and fully embody the Abstract Expressionism movement. He is best known for his Elegy to the Spanish Republic series.
Motherwell played an important role as one of the earliest Abstract Expressionists. This post-World War II movement included Robert Motherwell, Jackson Pollock, Max Ernst, Willem de Kooning, Adolph Gottlieb, and other prominent artists.
Who is Helen Frankenthaler?
Born December 12, 1928, Helen Frankenthaler is best known as an Abstract Expressionist and the creator of the “soak-stain” process. She was born into a wealthy Manhattan family, which enabled her to study art from a young age. Their frequent vacations throughout her childhood allowed her to develop a fondness for nature and a love of the ocean. That would definitely be inspirational factors later in her work.
Broome street at night, 1987
Broome street at night, 1987
Frankenthaler’s most famous work is the “Mountains and Sea”. An abstract painting that involves her “soak-stain” method of mixing turpentine with oil paints and pouring them onto the canvas. The painting was inspired by a trip to Nova Scotia, where she fell in love with the scenery and was inspired to create.
“Frankenthaler’s mastery of paint reveals her training under influential and accomplished instructors. She studied with Rufino Tamayo while at the Dalton School, New York, with Paul Feeley (1910-66) at Bennington College, Vermont (1946-9), and privately with Wallace Harrison in 1949 and Hans Hofmann in 1950. In that year she met Clement Greenberg, and through him, became acquainted with Willem and Elaine de Kooning, David Smith, Jackson Pollock, Lee Krasner, Barnett Newman and other members of the New York School.”
-Hollis Taggart Galleries
Frankenthaler is one of the most renowned female artists of the American Abstract Expressionist movement. Other prominent American female artists from this era include Joan Mitchell, Lee Krasner and Grace Hartigan.
The Meeting of Two Brilliant Minds
Despite an age difference of over thirteen years, Frankenthaler and Motherwell started an intense and brief courtship in 1958. Although there is not much information available about where or how they met. They were often spotted around the general social circles of Abstract Expressionist artists of the time, making it highly probable that they were introduced by friends.
The pair married the same year and continued to travel, throw lavish parties with their friends, and raise their two daughters, Lise and Jeannie.
Married to Their Work and Each Other
The two continued to work side-by-side during the duration of the marriage. While most art experts will tell you there’s no mistaking a Motherwell painting for a Frankenthaler one. But there are many similarities in style from pieces during this time. For example, the use of specific color tones in their work is explained by the couple sharing paint supplies. T and their frequent travels are often showcased as parallel inspiration for their work.
Frankenthaler and Motherwell
Robert Motherwell and Helen Frankenthaler at their wedding lunch, April 6, 1958. Photograph by Hans Namuth courtesy Center for Creative Photography, University of Arizona © 1991 Hans Namuth Estate
Later in life, Frankenthaler was asked what period of time she would most like to revisit. Her answer? The first few years with Bob. For the pair, this was an intense time of happiness, travel, and art creation that the couple would cherish for the rest of their lives.
The End of an Era
In 1971, Motherwell and Frankenthaler divorced after thirteen years of marriage. Both continued to paint and became faculty members at different prestigious schools. Motherwell at Hunter College and Frankenthaler at Harvard, Princeton, and Yale. Both remarried and continued to create and teach for the latter years of their lives. Motherwell died in 1991 and Frankenthaler in 2011.
Are you interested in investing in artwork by Robert Motherwell or Helen Frankenthaler? Please contact us today.
Recent Posts
Contact Us
267-687-8378
606 Spring Garden Street
Philadelphia PA 19123
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Canvas Painting party at THANE by Paintology
October 6 | 12 PM
Sandy's Bar Library, Thane
Sorry, this show is already over but head here for other fun events!
Get ready for the first ever paint party to happen in THANE, by Paintology.
Have you ever touched your paint-brush in years?
If not, we promise you to give you the best moments of fun-laughter-socialising-creativity that you may not have experienced in years by helping you paint this beautiful ‘Cherry Blossom painting’.
This paint-party will take you back to you school days and get will help you discover the art in you. You don’t need to bring anything with you, you don’t need to be a painter, all you have to do is book your seats and come to paint..!!
Paintology is what you need to help you explore the hidden artist within and for which NO PAINTING EXPERIENCE IS REQUIRED.
This Painting Party makes art more accessible to everyone, where instructions are given step-by-step to paint on a blank canvas with acrylics!
Don’t worry, all the art materials will be taken care off and you will be provided with food coupons worth ₹300 .
Come- sip- paint- much and take a beautiful piece of art with you home!
For queries call- 08999344265
About Paintology
Paintology was formed in order to make every layman, explore the hidden artist within them. Vinisha Savla, founder of Paintology along with her Mother- Prafulla aims to spread colors and art with a positive vibe as she strongly feels that every color has its own psychological property and the power to control our moods and emotions, hence naming it as: Paint+Psychology = Paintology! She believes that everyone can paint even if they have not touched a paint brush since years, and therefore is willing to spread art in the form of Paint-parties where people engage in a cool-therapeutic activity to relieve a stressful day at work or home!
Sandy's Bar Library, Thane
Sandy's Bar Library, The Walk, Hiranandani Estate, Thane West, Thane, Maharashtra 400607
Terms & Conditions
Sorry, this show is already over but head here for other fun events!
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Mini Masters
These fun, drop-in workshops for toddlers and a parent/guardian will be offered
on alternating dates at the Powerhouse and the University Museum.
Cost: $5 per family for each drop-in session
Pre-registration is not required.
All classes are on Thursdays from 3:45 p.m. – 4:30 p.m.
Powerhouse Dates:
Learn to create with local artist,
Andi Bedsworth.
1. Feb. 21: Marbling Paper
2. Mar. 7: Flower Collages
3. Apr. 11: Rainbow Umbrellas
413 S. 14th Street
Oxford, MS 38655
[email protected]
Museum Dates:
Be inspired to make art based on
Museum artifacts and exhibits.
1. Feb. 28: Watercolor Wonders
2. Mar. 28: Flights of Fancy: Birds
3. Apr. 25: African Art
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Inside Alicia Keys and Swizz Beatz’s Art-Filled Modernist Home Overlooking the Pacific Ocean
For more than a decade, Razor House, the stunning cliffside mansion by architectural designer Wallace E. Cunningham in La Jolla, California, has alternately been described as a “magnum opus,” an “architectural masterpiece,” and “America’s coolest home.” But since purchasing the modernist gem in 2019, Grammy Award–winning singer Alicia Keys and her husband, renowned music producer Kasseem Dean (a.k.a. Swizz Beatz), have preferred to call the home where they and their two sons, Egypt and Genesis, now reside “Dreamland.” Explaining the name, Keys says the expansive, nearly 11,000-square-foot residence, which overlooks the Pacific Ocean and is rumored to be the inspiration for Tony Stark’s futuristic bachelor pad in the Iron Man movies, is “a place to create dreams and to be bold enough to dream your wildest dream—for us to even be here is a wildest dream.”
It took some time for that dream to become a reality. Dean set a picture of Cunningham’s singular creation as his phone’s screen saver for eight years. During that time the multilevel manse, named after the neighboring Razor Point Trail, appeared and disappeared from the market, but the producer remained hopeful. “I was low-key manifesting it,” he states. When the couple’s real estate agent, Stephen Sweeney, called with news that the house was again available, Dean was elated. “When your screen saver comes to life, it’s unbelievably crazy,” he exclaims. Still, he worried that his wife, born and bred in Manhattan’s Hell’s Kitchen neighborhood, would veto a move to the West Coast. It’s worth noting that one of Keys’s biggest and most beloved hits to date is “Empire State of Mind,” the 2009 collaboration with Jay-Z that has become the unofficial anthem of the city that never sleeps. “She’s Miss New York,” Dean, himself a Bronx native, declares. “They might as well make a sculpture of her the [new] Statue of Liberty.”
Image may contain Transportation Vehicle Automobile Car Human Person Car Dealership and Sports Car
In the garage, three photographs by Kwame Brathwaite share space with (from feft) a Ferrari Enzo, A Ferrari LaFerrari, and a Ferrari SF90.
Frank Frances Studio
Coincidentally, Cunningham invokes the word sculpture when asked about the famous residence. “Every wall in this house, every bit of it, is sculpture,” he states. “These beautiful S shapes, these chevrons going down the hillside, curvatures flying in space over your head. It’s more akin to sculpture than architecture.” And, he makes clear, it “is incredibly important to me. It’s dearest to my heart.” While it’s the type of spread that elicits awestruck reverence, it wasn’t until the couple spent a “date weekend” exploring the estate (at the invite of its previous owner) that Keys began to imagine her life there. The singer says that during a morning meditation session she was rendered speechless by the sight of parasailers soaring over a nearby mountain: “In that moment, I felt like I was witnessing a beautiful metaphor, and I wanted to not ever forget how endless we are and how the unimaginable can happen. That’s what did it for me. I was taken.”
After snagging the home, the couple set about making it their own. Enter interior designer Kelly Behun, whom Dean contacted via Instagram. “I got this DM, and I was like, ‘Am I being Punk’d? Is someone playing a joke on me?’ We had never met before,” Behun recalls. Unbeknownst to her, Dean was a longtime fan of her work, regularly visiting her Instagram page for inspiration. “There are many designers who know how to put expensive things into your house, but the soul is missing,” he says. “Kelly has soul.”
Image may contain Outdoors Nature River Water Building Vehicle Transportation Boat and Architecture
A razor-thin edge defines the house’s southern façade.
Frank Frances Studio
She also has patience. Behun had to work around pandemic limitations—a majority of the collaboration happened remotely—and the power duo’s packed-to-the-minute calendars. One week alone in September saw Keys debut her new single “LALA” at the MTV Video Music Awards, host a birthday revel for her husband, and enjoy a secret soiree celebrating her new album, KEYS. In that time, Dean, recently named one of Time magazine’s 100 most influential people of 2021, also presided over the latest installment of Verzuz (the popular rap battle series he co-created with Timbaland in 2020) at Madison Square Garden. As if that weren’t enough, the couple even squeezed in a twirl at the Met gala for good measure.
A hectic schedule, however, didn’t keep Dean from being a hands-on collaborator during the nine-month-long project, says Behun. “He lives and breathes that house; he understands every square inch of it. Being remote would normally be an obstacle, [but] he was so in tune with what he knew he wanted, and that’s why everything just clicked.” Erected in 2007, the cantilevered structure comprises floor-to-ceiling glass, white concrete, grand walkways, manicured courtyards, and floating staircases. Keen on making the home more family-friendly and less like a place a “superhero would live in,” Behun brought in warmth by introducing wood elements, Moroccan wool rugs, and seating upholstered in soft fabrics like shearling and cotton velvet. The palette leans heavily on colors that harmonize with the views—golden sands, caramel browns, buttery cognacs. “The interiors don’t in any way shout; they’re simple and timeless,” says Behun, later adding, “It was never going to be about trying to upstage the natural surroundings, the architecture, or the art.”
Dean and Keys’s art collection, amassed over 20 years and totaling more than 1,000 works, is as extensive as it is enviable. Years ago, the couple chose to focus on acquiring pieces by African American and African artists, ranging from Kehinde Wiley and Lynette Yiadom-Boakye to Barkley L. Hendricks and Henry Taylor. They also possess a treasure trove of Gordon Parks images—the largest in private hands. “It really feels like he’s a grandfather to us,” says Keys of the celebrated lensman. “To be able to keep his collection together and for it to live in the home of Black artists is really very emotional for me.”
In the primary bedroom a pair of 1940s Sven Staaf chairs upholstered in shearling from Hostler Burrows flank an oak and...
In the primary bedroom, a pair of 1940’s Sven Staaf chairs upholstered in shearling from Hostler Burrows flank an oak and stone mosaic side table with rope accents by Kelly Behun Studio from The Invisible Collection.
Frank Frances Studio
According to Thelma Golden, director and chief curator of the Studio Museum in Harlem, “Alicia and Kasseem see themselves not only as collectors of art but as custodians of the culture.” She continues, “Over the years, I’ve watched their collection develop as their vision has widened and expanded to create a collection that really represents the breadth and depth of the work being made by Black artists.” Dean, a member of the board of the Brooklyn Museum, and Keys also collect to be in close community with fellow creatives. “I love that 90 percent of the art in the house is by artists who are now our friends,” Dean boasts. “We’ve broken bread with them, they’ve partied at our house, they’ve spent the night. It’s not transactional for us.”
Tucked away in the subterranean garage and adjoining lounge (Dean’s favorite realm) are a fleet of luxury automobiles, a recording studio, and five arresting Deana Lawson photographs. It’s not uncommon to find the producer here smoking a cigar or tooling around on quad skates to classic ’70s R&B. “I don’t call it a man cave, because me and my wife share the space equally,” he notes. “We call it the grown-up floor.”
Cunningham, who has since become friends with the Dean family, says that “it’s nothing like you would imagine. When you look at a home like this, you think people are living in it stiffly—they’re not. They’re running around enjoying themselves. They are not intimidated by this place at all.”
On the main floor, Derrick Adams’s hypnotic ode to leisure, Floater 74, rests above the custom ebonized-oak table by Kelly Behun Studio in the formal dining room. Vintage Africa chairs by Afra & Tobia Scarpa quietly dazzle, as does Jordan Casteel’s vibrant Fallou and a multimedia drawing by Nigerian American artist Toyin Ojih Odutola. African sculptures—a vintage Baga Nimba ceremonial shoulder mask from the early 1900s is a treasured standout—also abound. “I watched her finish that piece in front of me,” Dean says, referring to one of a pair of remarkable Odutolas that has pride of place in the library/music room. “She was going to get rid of that piece, and I was like, “Toyin, I don’t think you should. That can be really special.’ ” The room also houses Keys’s first baby grand, a gift from the record label that signed her when she was only 16. Her elder son plays it now. “When Egypt is practicing piano, he has a Basquiat behind him and the Toyin in front of him,” Keys marvels. “Without even knowing it, he gets to absorb this excellence.”
Known in the industry for their legendary house parties, Keys and Dean are consummate hosts who need no excuse to throw a bash. They’re all too eager to swing open the doors to “Dreamland” as soon as it’s safe to do so again. “When you hear a song or something we’ve produced, the foundation is to make people feel good and feel loved. That’s what our art is about,” Keys states. And “when you come into our home, that’s exactly what we want you to feel. We want you to feel loved, to feel safe, to feel relaxed. We want you to have a great meal. We want you to feel inspired.”
via Architectural Digest
Joyce Rey
With Me
Whether it's buying your dream home or selling your current one, Joyce Rey is here to help.
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Prices include international shipping to the nearest port or airport
Solos In Parallel: Ayyad Alnimer & Klay Kassem
KM 28, Cairo-Alexandria Desert Road. Abu Rawash, Giza-Egypt.
Friday,13 September 2019 (7:00 PM) - Thursday,03 October 2019
TAM.Gallery is delighted to announce the opening of our third edition of Solos in Parallel Exhibition by Egyptian contemporary artists Ayyad Alnimer & Klay Kassem, on Friday 13th of September at 7 pm.
Featuring new collections by both artists, this exhibition aims to take you on a journey between two contrasting worlds- Klay’s melodic interpretations of Mozart’s Magic Flute & Alnimer’s vibrant and personal perceptions of the world – both lined with the familiarity of life, loss, family ties, and enlightened love.
Join us at the opening on Friday September 13th from 7:00 pm to 10:00 pm, at TAM.Gallery (Previously The Arts-Mart Gallery).
The exhibition runs until the 3rd of October 2019.
Visiting Hours:
Opening Night: 7:00 pm to 10:00 pm
Weekdays: 10:00 am to 5:00 pm
Fridays & Saturdays Off
*This event is free and open to the public
**For more information or appointments outside our working hours, please call +201000773860
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Artcrafts Engraving Co.
January 16, 2019
Written by Gary F. Baumann II | Photography by Emily Baumann and submitted by Artcrafts Engraving Co.
DEFINITION: Devoted to a task or purpose. Exclusively allocated to or intended for a particular purpose.
Striding through the doors of Artcrafts Engraving Co. transports you from the modern streets of St. Joseph back through our history in manufacturing. Walls are covered floor to ceiling in our city’s past, with logos, artwork, and advertisements dating as far back as the Aunt Jemima Flour Mill, complete with a Jefferson Highway sign tucked away in the corner. The smell of metal tooling and photography chemicals fill the air, while the sounds of whirring equipment underlie the rushing waters of the entryway koi pond. Still, despite the sights and sounds, what will strike you most is the unyielding passion the dedicated people of Artcrafts bring to their craft.
Founded in 1913, Artcrafts Engraving was more than just an engraving company. From the outset the owners employed advertisers and artists to meet the needs of the growing industries of St. Joseph. According to W.H. Guenther Sr., the company’s first president, the corporate mission was simple: “Whatever the client wants, whenever the client wants it, we’re gonna get it to them.” With several skilled artisans on staff, Artcrafts soon set themselves apart as a company that could “do it all.” One Artcrafts Engraving alum, Fred Harman, was an early collaborator with a young fellow named Walt Disney. As if working with one of the most influential people of the 20th century wasn’t enough, Harman also was a co-creator of the Red Ryder comic strip – whose most memorable addition to pop culture wasn’t actually the heroic red headed cowboy, but rather the licensed carbine action air rifle it inspired.
In addition to their renowned artistic work, Artcrafts Engraving also cut a name for themselves with their wide variety of highly specialized photography equipment. An early model 360 degree camera was used to take many early photos of St. Joseph, including a collection of the town’s first motorized fire engines at the corner of Noyes and Ashland in 1923. Of course, one can’t mention their impressive camera collection without addressing the 15’ elephant in the room. This photographic giant was used to scale up small proofs to gigantic proportions long before the days of digitization existed! Now we can just click, zoom, cut, and paste our way to a larger image, but for decades it required real photographic artistry to scale an image up without losing clarity, or resolution.
While they provide a wide variety of graphic arts services for customers in over a dozen states, the most common request is for photoengraving, which is used in the printing industry to transfer a design to a product. Clients send a digital image file, which is edited and optimized on the computer by Artcrafts. The digital image is then used to create a film negative (black and white), which then gets sent to the engraving equipment. Simply put, the film negative is placed on specially coated magnesium plate stock, and then exposed to light and chemicals which precisely etches the metal that is not covered by the film negative image. Any imperfections from the etching process are then cleaned off the remaining magnesium plate, and the engraving is complete.
Artcrafts Engraving has remained a family oriented business, passing from W.H. Guenther Sr. to son Bill Guenther, who worked side-by-side with his intelligent and competent wife Elaine Guenther for over 50 years. Today Elaine and her multi-talented daughter-in-law Tammy Guenther are jointly running the business, two capable women finding success in the historically male-dominated printing industry.
Tammy is the wife of Bill and Elaine’s youngest son Max Guenther, who grew up around Artcrafts and remembers being given small jobs around the shop to keep him occupied and out from underfoot. While he eventually would move to Hawaii and become a partner in an award-winning architectural firm, Max is a St. Joseph native at heart and has spent the last several years splitting time between designing beautiful structures in Hawaii and planning for the future of Artcrafts in St. Joseph.
As stewards of a business with a legacy of over 100 years of creating exactly what their customers need…the Artcrafts team is keeping an eye on the future of the industry, evolving the company’s offerings as the needs of their clients change and grow.
“We have a lot of unique stuff here, equipment and proofing presses that are historical and almost impossible to find,” says Max. “If you look at many of the big names in St. Joseph history – Aunt Jemima, Big Chief, Chase Candy, Hillyard, Goetz, Wire Rope – our plates had a part in all of their histories.” Looking around the walls at Artcrafts Engraving, from historical cameras, hand tinted photos, and original artwork, it’s clear that this St. Joseph gem has had a major part to play in our city’s rich history.
Having or showing an ability to make new things or think of new ideas.
Highly pleasant to the taste; delightful.
Unswerving loyalty.
Consonant with the character of and in accordance with the nature of the area.
Not proud or arrogant; modest.
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