Harvey Littleton
Encyclopedia
Harvey Littleton is an American educator and glass art
ist. Born in Corning, New York, he grew up in the shadow of Corning Glassworks, where his father headed Research and Development during the 1930s. Expected by his father to enter the field of physics, Littleton instead chose a career in art, gaining recognition first as a ceramist and later as a glassblower and sculptor in glass. In the latter capacity he was very influential, organizing the first glassblowing seminar aimed at the studio artist in 1962, on the grounds of the Toledo Museum of Art
. His aim was to take the manufacture of glass out of its industrial setting and put it within the reach of the studio artist.
In his role as an educator, Littleton was an "...outspoken and eloquent advocate of university education in the arts." He organized the first hot glass program at an American university (the University of Wisconsin–Madison
) and promoted the idea of glass as a course of study in university art departments in the Midwest and northeastern United States. Several of Littleton's students went on to disseminate the study of glass art throughout the U.S., including Marvin Lipofsky
, who started a glass program at the University of California at Berkley and Dale Chihuly
, who developed the glass program at the Rhode Island School of Design
and later was a founder of Pilchuck Glass School
in Stanwood, Washington.
Littleton retired from teaching in 1976 to focus on his own art. Exploring the inherent qualities of the medium, he worked in series with simple forms to draw attention to the complex interplay of transparent glass with multiple overlays of thin color.
where his father, Dr. Jesse T. Littleton, Jr., was Director of Research for Corning Glass Works. A physicist, Dr. Littleton is remembered today as the developer of Pyrex
glassware. Harvey Littleton's introduction to the world of glass began when he was six. On Saturdays his father would take Harvey off his mother's hands for a few hours by bringing him to the laboratory. There he was turned over to the laboratory stockman who entertained him or, at least, kept the little boy out of trouble. At home, the properties of glass and its manufacture were frequent topics at the family dinnertable. Dr. Littleton was fascinated by glass and believed that the material has almost unlimited uses.
Littleton's interest in art began in high school, where he took life drawing and sculpture classes. He also took a sculpture class during his freshman year at the University of Michigan. His growing preference for art eventually proved stronger than his respect for his father's wishes. After three semesters of physics he transferred to Cranbrook Academy of Art for its 1941 spring semester. There he studied under sculptor Marshall Fredericks
and worked part-time as a studio assistant to Carl Milles
. Dr. Littleton was not pleased by his son's decision. Littleton enlisted his elder sister Martha's aid in pleading his case to their father, and a compromise was reached. Littleton would return to the University of Michigan that fall, but not to physics. The study of fine art was not part of the compromise; instead, Littleton agreed to major in industrial design
.
During summer break in 1942 Littleton worked as a mold maker at Corning Glass Works in the Vycor
multiform project laboratory. There he cast his first work in glass, an academic torso, in white Vycor. That fall Littleton was forced to delay his education for three years when he was drafted into the U.S. Army Signal Corps. He served in North Africa and Italy and, near the end of the war, received a commendation for his work in encoding. In early 1946 he was in England, waiting his turn to be shipped home. To fill the time he attended classes at the Brighton School of Art, where he modeled and fired a small clay torso that he carried home in his barracks bag. Once back in Corning, New York, Littleton cast the torso, again in Vycor, as a small edition.
He finished his degree in industrial design in 1947. With his father's encouragement Littleton submitted a proposal to Corning to create a workshop within the factory to research the aesthetic properties of industrial glass. The proposal was rejected and instead Littleton and two friends, Bill Lewis and Aare Lahti, opened a design studio in Ann Arbor.
, who would be important to the success of Littleton's first glass workshop a dozen years later.
Littleton's production as a potter focused on functional stoneware
that he sold in Chicago-area art fairs and in galleries from Chicago to New York City. His work was included in group shows in the United States, including "Designer Craftsmen U.S.A.," sponsored by the American Craft Council
in 1953 and the Ceramic National exhibition at the Syracuse Museum of Art in 1954. His pottery gained international exposure in 1956 at the First International Exposition of Ceramics in Cannes, France.
in 1951. In 1957 a university research grant allowed him to visit Europe, where he studied the influence of Islamic culture on contemporary Spanish pottery. However, he first stopped in Paris to visit Jean Sala, who had been recommended to Littleton as an artist who worked alone in glass.
After four and a half months of research in Spain, Littleton visited the site of his war-time service in Naples. He was surprised to find seven small glass factories there. On a later visit to the island of Murano
, he visited more than fifty glass factories. He was fascinated by the little demonstration furnaces that some of the factories placed outside their walls. The furnaces would be staffed by a couple of the factory's glassblowers, who would perform their craft for tourists. Prior to this Littleton believed that glass could only be made in an industrial setting, by a team of workers. His Murano experience convinced him that a single artist could melt and work glass in a private studio.
Upon his return to his Verona, Wisconsin studio Littleton began melting small batches of glass in his ceramics kiln, using hand-thrown stoneware bowls as crucibles. As a result of these experiments, the American Craft Council asked him to chair a panel on glass at its Third National Conference in 1958. The panelists were glass artists and designers Michael and Frances Higgins and Earl McCutchen, who worked in laminated glass at the University of Georgia. Paul Perrot, director of the Corning Museum of Glass
, was the fifth panelist. By the time the American Craft Council convened its fourth conference in 1961, Littleton not only presented a paper on his own work in glass but also exhibited a sculpture made of three faceted pieces of cullet that he had melted, formed and carved in the previous year. After the conference, Littleton began applying for grants to get his vision of a hot glass studio program off the ground.
workshop.
According to former student and Littleton biographer Joan Falconer Byrd, "Littleton brought a small pot furnace he had built at his farm and hooked it up in the museum garage with the help of Norm Schulman, pottery instructor at the museum school. Dominick Labino
, then director of research for Johns Manville Corporation...volunteered a low-melting glass formula."
Because of a misreading of Labino's formula, the first batch of glass was ruined. Labino himself oversaw the conversion of the pot furnace into a day tank, supplying it with low-melting-point glass marbles he had developed for use in the production of fiberglass. This glass proved easy to work for glass blowing, and the workshop participants experimented with it in shifts for the remainder of the week. On the final day of the workshop, Harvey Leafgreen, a retired glassblower from the Libbey glass plant in Toledo, presented an unexpected two-hour demonstration of the craft.
The ten attendees at the March 1962 Toledo workshop included Littleton, Dominick Labino, Norm Schulman, Tom McGlauchlin from the University of Iowa, Karl Martz from Indiana University, John Stephenson from the University of Michigan, William Pitney from Wayne State University, Clayton Bailey, Littleton's Graduate Assistant from the University of Wisconsin, artist Dora Reynolds and Edith Franklin, one of Schulman's ceramics students at the Toledo Museum of Art. A second, better advertised Toledo workshop that attracted more participants was held that June. Littleton, Labino, Leafgreen and Schulman shared teaching duties at the second workshop.
, who is recognized today as a founder of European studio glass. Eisch had set up a small work area in his family’s glass factory in Frauenau for the production of his own glass art. Trained as a fine artist in the academies of Germany, he was largely self-taught as a glass blower and at the time produced his work with the help of the factory’s craftsmen.
Through the fall 1962 and spring 1963 semesters, Littleton taught glass in a garage at his Verona farm to six students under an independent study program. By the following year he had secured University of Wisconsin funding to rent and equip an off-campus glass department in Madison. Through the University’s glass program, Littleton would train many prominent glass artists, including Dale Chihuly
, Marvin Lipofsky
, Fritz Dreisbach
, Sam Herman
, Tom McGlauchlin,
Christopher Ries
and Michael Taylor
.
With the launching of the first college glass department Littleton said that he "...became a kind of evangelist for the medium." He gave lectures at university art departments throughout the midwest and northeast United States about the potential of glass as a medium for the studio artist. Littleton served as the chairman of the University of Wisconsin art department from 1964–1967 and from 1969–1971. He retired from teaching in 1976, and in 1977 was named professor emeritus. It was around this time that Littleton, in addition to his work in glass, began to develop the technique of vitreography
— printmaking
using glass plates.
This was a question that Littleton had evidently been thinking about for some time. In his 1971 book, Glassblowing: A Search for Form, he wrote:
The offhand phrase "technique is cheap" soon took on a life of its own. For some it was a rallying cry to discover the inherent possibilities of a "new" medium for the artist; for others the statement expressed nothing more than arrogant disdain for the timeless value of craftsmanship. In a 2001 interview for the Smithsonian’s Archives of American Art, Littleton commented on what he termed the "misinterpretation" of the phrase:
Behind this point is another, as expressed by writer and curator William Warmus: "It might even be argued that Littleton sought long-term to put the artist back in control of the factory, even as he sought to put the furnace into the artist’s studio."
For Littleton, the epitome of technique vs. content was to be found in factory-made art glass, where the division of labor was inflexible. Traditionally the art glass designer was a draftsman who made a conceptual drawing for a glass object, and then passed it along to industry craftsmen for execution. According to Littleton, the factory designer “...is frustrated by the peculiar misplacement of his skill, and his inclusion in a process where little experimentation or interference is permitted. As for the factory craftsman, his training under the apprenticeship system "limited him to one phase in the production of glass. This training could not prepare anyone to function as an independent artist, but only to serve as a cog in the industrial machinery."
In 1962 Littleton’s first pieces in blown glass were, like his earlier works in pottery, functional forms: vases, bowls and paperweights. His breakthrough to non-functional form came in 1963 when, with no purpose in mind, he remelted and finished a glass piece that he had earlier smashed in a fit of pique. The object lay in his studio for several weeks before he decided to grind the bottom. As Littleton recounts in his book Glassblowing: A Search for Form, he brought the object into the house where "it aroused such antipathy in my wife that I looked at it much more closely, finally deciding to send it to an exhibition. Its refusal there made me even more obstinate, and I took it to New York ... I later showed it to the curators of design at the Museum of Modern Art. They, perhaps relating it to some other neo-Dada
work in the museum, purchased it for the Design Collection." This led to Littleton’s mid-1960s series of broken-open forms, and "Prunted," "Imploded" and "Exploded" forms.
These sculptures, especially the "Prunted," or "Anthropomorpic," forms were influenced by Littleton’s colleague Erwin Eisch, who visited and worked with Littleton in his Wisconsin studio for a month in late 1967. Several weeks after Eisch’s departure, Littleton realized that he had unconsciously adopted his friend's strongly personal figural style in his own work. Littleton reacted to this discovery by turning to simple, clean shapes in 1968, forming tubes, rods and columns of glass that he cut and grouped together on bases of plate glass or steel.
Allowing the pull of gravity to stretch and bend hot glass while on the blowpipe or punty led Littleton to his "Folded Forms" and "Loops" series, which continued until 1979. His "Eye" forms, also from the 1970s, take the form of concentric cups of various colors in diminishing sizes that nestle one inside the next.
Littleton explored cutting and slumping
industrial glass, including plate and optic glass, beginning in 1970. In sculptures such as Do Not Spindle and Distortion Box, slumped squares of glass are transfixed by a brass rod. In Rock Around the Clock, a bent piece of optic glass bar from Corning Glass Works in Danville, Virginia, can be set rocking on its bronze plate glass base with a touch of the hand.
Littleton incorporated optical lens blanks manufactured by Corning with his own hot-worked glass. In each case he sandblasted and cut the optical disc draping, and in one case piercing, the disc with fluid, cased glass forms. These were followed, in 1978, by Littleton’s Solid Geometry series, in which heavy cased glass forms were cut into trapezoidal, spheroid and ovoid shapes and highly polished.
Perhaps Littleton’s best known body of work is his "Topological Geometry" group of series, made between 1983 and 1989. Included under this heading are his signature "Arc" forms and "Crowns," as well as his late "Lyrical Movement" and "Implied Movement" sculptural groups. In 1989 chronic back problems forced Littleton to retire from working in hot glass.
and the Museum of Modern Art
in New York City; Corning Museum of Glass
, Detroit Institute of Arts
, Indianapolis Museum of Art
, Los Angeles County Museum of Art
, Museum of Arts & Design, Museum of Fine Arts, Houston, Smithsonian Institution
and the Toledo Museum of Art
, among numerous others. Overseas his work is in Glasmuseet Ebeltoft
in Denmark; Museum Bellrive
in Zürich, Switzerland; Museum Boijmans van Beuningen
in Rotterdam, Holland; National Museum of Modern Art, Kyoto
in Japan; Hokkaido Museum of Modern Art in Sapporo, Japan; the Victoria and Albert Museum
in London; Glasmuseum Frauenau (Sammlung Wolfgang Kermer), and the Decorative Arts Museums in Frankfurt, Hamburg, Prague and Vienna.
Glass art
Studio glass or glass sculpture is the modern use of glass as an artistic medium to produce sculptures or three-dimensional artworks. Specific approaches include working glass at room temperature cold working, stained glass, working glass in a torch flame , glass beadmaking, glass casting, glass...
ist. Born in Corning, New York, he grew up in the shadow of Corning Glassworks, where his father headed Research and Development during the 1930s. Expected by his father to enter the field of physics, Littleton instead chose a career in art, gaining recognition first as a ceramist and later as a glassblower and sculptor in glass. In the latter capacity he was very influential, organizing the first glassblowing seminar aimed at the studio artist in 1962, on the grounds of the Toledo Museum of Art
Toledo Museum of Art
The Toledo Museum of Art is an internationally known art museum located in the Old West End neighborhood of Toledo, Ohio, United States. The museum was founded by Toledo glassmaker Edward Drummond Libbey in 1901, and moved to its present location, a Greek revival building designed by Edward B....
. His aim was to take the manufacture of glass out of its industrial setting and put it within the reach of the studio artist.
In his role as an educator, Littleton was an "...outspoken and eloquent advocate of university education in the arts." He organized the first hot glass program at an American university (the University of Wisconsin–Madison
University of Wisconsin–Madison
The University of Wisconsin–Madison is a public research university located in Madison, Wisconsin, United States. Founded in 1848, UW–Madison is the flagship campus of the University of Wisconsin System. It became a land-grant institution in 1866...
) and promoted the idea of glass as a course of study in university art departments in the Midwest and northeastern United States. Several of Littleton's students went on to disseminate the study of glass art throughout the U.S., including Marvin Lipofsky
Marvin Lipofsky
Marvin Lipofsky is an American glass artist. He was one of the six students that Studio Glass founder Harvey Littleton instructed under an independent study program for the University of Wisconsin-Madison in fall 1962 and spring 1963...
, who started a glass program at the University of California at Berkley and Dale Chihuly
Dale Chihuly
Dale Chihuly is an American glass sculptor and entrepreneur.-Biography:Chihuly graduated from Woodrow Wilson High School in Tacoma, Washington. He enrolled at the College of the Puget Sound in 1959...
, who developed the glass program at the Rhode Island School of Design
Rhode Island School of Design
Rhode Island School of Design is a fine arts and design college located in Providence, Rhode Island. It was founded in 1877. Located at the base of College Hill, the RISD campus is contiguous with the Brown University campus. The two institutions share social, academic, and community resources and...
and later was a founder of Pilchuck Glass School
Pilchuck Glass School
Founded in 1971 by Dale Chihuly, Anne Gould Hauberg and John H. Hauberg , Pilchuck Glass School is an international center for glass art education. The name "Pilchuck" comes from the local Native American language and translates to "red river"...
in Stanwood, Washington.
Littleton retired from teaching in 1976 to focus on his own art. Exploring the inherent qualities of the medium, he worked in series with simple forms to draw attention to the complex interplay of transparent glass with multiple overlays of thin color.
Early life
Harvey Kline Littleton was born in Corning, New YorkCorning (city), New York
Corning is a city in Steuben County, New York, United States, on the Chemung River. The population was 10,842 at the 2000 census. It is named for Erastus Corning, an Albany financier and railroad executive who was an investor in the company that developed the community.- Overview :The city of...
where his father, Dr. Jesse T. Littleton, Jr., was Director of Research for Corning Glass Works. A physicist, Dr. Littleton is remembered today as the developer of Pyrex
Pyrex
Pyrex is a brand name for glassware, introduced by Corning Incorporated in 1915.Originally, Pyrex was made from borosilicate glass. In the 1940s the composition was changed for some products to tempered soda-lime glass, which is the most common form of glass used in glass bakeware in the US and has...
glassware. Harvey Littleton's introduction to the world of glass began when he was six. On Saturdays his father would take Harvey off his mother's hands for a few hours by bringing him to the laboratory. There he was turned over to the laboratory stockman who entertained him or, at least, kept the little boy out of trouble. At home, the properties of glass and its manufacture were frequent topics at the family dinnertable. Dr. Littleton was fascinated by glass and believed that the material has almost unlimited uses.
Education
When he was eighteen, Harvey Littleton enrolled at the University of Michigan to study physics. His choice of major was influenced by his father, who wanted one of his children to follow him in his profession (Littleton’s two elder brothers chose medicine and business as careers; his sister was an industrial psychologist). According to Littleton, "I always thought I would be a physicist like my father".Littleton's interest in art began in high school, where he took life drawing and sculpture classes. He also took a sculpture class during his freshman year at the University of Michigan. His growing preference for art eventually proved stronger than his respect for his father's wishes. After three semesters of physics he transferred to Cranbrook Academy of Art for its 1941 spring semester. There he studied under sculptor Marshall Fredericks
Marshall Fredericks
Marshall Maynard Fredericks was an American sculptor.-Biography:Fredericks was born of Scandinavian heritage in Rock Island, Illinois on January 31, 1908. His family moved to Florida for a short time and then settled in Cleveland, Ohio, where he grew up...
and worked part-time as a studio assistant to Carl Milles
Carl Milles
Carl Milles was a Swedish sculptor, best known for his fountains. He was married to artist Olga Milles and brother to Ruth Milles and half brother to the architect Evert Milles...
. Dr. Littleton was not pleased by his son's decision. Littleton enlisted his elder sister Martha's aid in pleading his case to their father, and a compromise was reached. Littleton would return to the University of Michigan that fall, but not to physics. The study of fine art was not part of the compromise; instead, Littleton agreed to major in industrial design
Industrial design
Industrial design is the use of a combination of applied art and applied science to improve the aesthetics, ergonomics, and usability of a product, but it may also be used to improve the product's marketability and production...
.
During summer break in 1942 Littleton worked as a mold maker at Corning Glass Works in the Vycor
Vycor
Vycor is a glass with high temperature and thermal shock resistance, made by Corning Incorporated. Vycor is 96% silica, but unlike pure fused silica it can be readily manufactured in a variety of shapes....
multiform project laboratory. There he cast his first work in glass, an academic torso, in white Vycor. That fall Littleton was forced to delay his education for three years when he was drafted into the U.S. Army Signal Corps. He served in North Africa and Italy and, near the end of the war, received a commendation for his work in encoding. In early 1946 he was in England, waiting his turn to be shipped home. To fill the time he attended classes at the Brighton School of Art, where he modeled and fired a small clay torso that he carried home in his barracks bag. Once back in Corning, New York, Littleton cast the torso, again in Vycor, as a small edition.
He finished his degree in industrial design in 1947. With his father's encouragement Littleton submitted a proposal to Corning to create a workshop within the factory to research the aesthetic properties of industrial glass. The proposal was rejected and instead Littleton and two friends, Bill Lewis and Aare Lahti, opened a design studio in Ann Arbor.
As a ceramist
In 1949 Littleton enrolled as a graduate student in ceramics at Cranbrook Academy of Art. That same year, he accepted a position teaching ceramics at the Toledo Museum of Art School of Design, commuting between Toledo and Bloomfield Hills weekly. For that portion of the week that Littleton was in Toledo, he stayed at the apartment of artist Hal Lotterman. There, at one of Lotterman's Wednesday night poker games, Littleton met Dominick LabinoDominick Labino
Dominick Labino Dominick Labino was an internationally-known scientist, inventor, artist and master craftsman in glass. Labino's art works in glass are in the permanent collections of more than 100 museums throughout the world...
, who would be important to the success of Littleton's first glass workshop a dozen years later.
Littleton's production as a potter focused on functional stoneware
Stoneware
Stoneware is a vitreous or semi-vitreous ceramic ware with a fine texture. Stoneware is made from clay that is then fired in a kiln, whether by an artisan to make homeware, or in an industrial kiln for mass-produced or specialty products...
that he sold in Chicago-area art fairs and in galleries from Chicago to New York City. His work was included in group shows in the United States, including "Designer Craftsmen U.S.A.," sponsored by the American Craft Council
American Craft Council
The American Craft Council , was founded in 1943 as a national, nonprofit, educational organization to support and foster interest in the crafts in America. The council sponsers national craft shows, publishes American Craft magazine, and has an extensive awards program...
in 1953 and the Ceramic National exhibition at the Syracuse Museum of Art in 1954. His pottery gained international exposure in 1956 at the First International Exposition of Ceramics in Cannes, France.
Research
After earning his master's degree in ceramics, Littleton began teaching at the University of Wisconsin–MadisonUniversity of Wisconsin–Madison
The University of Wisconsin–Madison is a public research university located in Madison, Wisconsin, United States. Founded in 1848, UW–Madison is the flagship campus of the University of Wisconsin System. It became a land-grant institution in 1866...
in 1951. In 1957 a university research grant allowed him to visit Europe, where he studied the influence of Islamic culture on contemporary Spanish pottery. However, he first stopped in Paris to visit Jean Sala, who had been recommended to Littleton as an artist who worked alone in glass.
After four and a half months of research in Spain, Littleton visited the site of his war-time service in Naples. He was surprised to find seven small glass factories there. On a later visit to the island of Murano
Murano
Murano is a series of islands linked by bridges in the Venetian Lagoon, northern Italy. It lies about 1.5 km north of Venice and measures about across with a population of just over 5,000 . It is famous for its glass making, particularly lampworking...
, he visited more than fifty glass factories. He was fascinated by the little demonstration furnaces that some of the factories placed outside their walls. The furnaces would be staffed by a couple of the factory's glassblowers, who would perform their craft for tourists. Prior to this Littleton believed that glass could only be made in an industrial setting, by a team of workers. His Murano experience convinced him that a single artist could melt and work glass in a private studio.
Upon his return to his Verona, Wisconsin studio Littleton began melting small batches of glass in his ceramics kiln, using hand-thrown stoneware bowls as crucibles. As a result of these experiments, the American Craft Council asked him to chair a panel on glass at its Third National Conference in 1958. The panelists were glass artists and designers Michael and Frances Higgins and Earl McCutchen, who worked in laminated glass at the University of Georgia. Paul Perrot, director of the Corning Museum of Glass
Corning Museum of Glass
The Corning Museum of Glass, in Corning, New York, explores every facet of glass, including art, history, culture, science and technology, craft, and design....
, was the fifth panelist. By the time the American Craft Council convened its fourth conference in 1961, Littleton not only presented a paper on his own work in glass but also exhibited a sculpture made of three faceted pieces of cullet that he had melted, formed and carved in the previous year. After the conference, Littleton began applying for grants to get his vision of a hot glass studio program off the ground.
1962 glass workshop
In March 1962, Otto Wittmann, director of the Toledo Museum of Art, offered Littleton the use of a storage shed on the grounds of the museum for a one-week glassblowingGlassblowing
Glassblowing is a glassforming technique that involves inflating molten glass into a bubble, or parison, with the aid of a blowpipe, or blow tube...
workshop.
According to former student and Littleton biographer Joan Falconer Byrd, "Littleton brought a small pot furnace he had built at his farm and hooked it up in the museum garage with the help of Norm Schulman, pottery instructor at the museum school. Dominick Labino
Dominick Labino
Dominick Labino Dominick Labino was an internationally-known scientist, inventor, artist and master craftsman in glass. Labino's art works in glass are in the permanent collections of more than 100 museums throughout the world...
, then director of research for Johns Manville Corporation...volunteered a low-melting glass formula."
Because of a misreading of Labino's formula, the first batch of glass was ruined. Labino himself oversaw the conversion of the pot furnace into a day tank, supplying it with low-melting-point glass marbles he had developed for use in the production of fiberglass. This glass proved easy to work for glass blowing, and the workshop participants experimented with it in shifts for the remainder of the week. On the final day of the workshop, Harvey Leafgreen, a retired glassblower from the Libbey glass plant in Toledo, presented an unexpected two-hour demonstration of the craft.
The ten attendees at the March 1962 Toledo workshop included Littleton, Dominick Labino, Norm Schulman, Tom McGlauchlin from the University of Iowa, Karl Martz from Indiana University, John Stephenson from the University of Michigan, William Pitney from Wayne State University, Clayton Bailey, Littleton's Graduate Assistant from the University of Wisconsin, artist Dora Reynolds and Edith Franklin, one of Schulman's ceramics students at the Toledo Museum of Art. A second, better advertised Toledo workshop that attracted more participants was held that June. Littleton, Labino, Leafgreen and Schulman shared teaching duties at the second workshop.
Glass at the University of Wisconsin
In the summer of 1962 Littleton once again traveled to Europe, this time to research how glass was taught in universities there. He found nothing that he could bring back to the U.S. to help him educate art students at the University of Wisconsin. At that time, European glass programs were geared solely toward industrial production. Students were not taught hands-on techniques with the material; the craft of working with hot glass was still taught at the factories, under the apprenticeship system. What Littleton did find in Europe was a kindred spirit in glass art, the German Erwin EischErwin Eisch
Erwin Eisch is a German artist who works with glass. He is also a painter, draughtsman and printmaker. With that of his friend and colleague in glass, Harvey Littleton, Eisch's work in glass embodies the ideas of the international Studio Glass movement...
, who is recognized today as a founder of European studio glass. Eisch had set up a small work area in his family’s glass factory in Frauenau for the production of his own glass art. Trained as a fine artist in the academies of Germany, he was largely self-taught as a glass blower and at the time produced his work with the help of the factory’s craftsmen.
Through the fall 1962 and spring 1963 semesters, Littleton taught glass in a garage at his Verona farm to six students under an independent study program. By the following year he had secured University of Wisconsin funding to rent and equip an off-campus glass department in Madison. Through the University’s glass program, Littleton would train many prominent glass artists, including Dale Chihuly
Dale Chihuly
Dale Chihuly is an American glass sculptor and entrepreneur.-Biography:Chihuly graduated from Woodrow Wilson High School in Tacoma, Washington. He enrolled at the College of the Puget Sound in 1959...
, Marvin Lipofsky
Marvin Lipofsky
Marvin Lipofsky is an American glass artist. He was one of the six students that Studio Glass founder Harvey Littleton instructed under an independent study program for the University of Wisconsin-Madison in fall 1962 and spring 1963...
, Fritz Dreisbach
Fritz Dreisbach
Fritz Dreisbach is an American studio glass artist and teacher who is recognized as one of the pioneers of the American Studio Glass Movement.-Early life and education:...
, Sam Herman
Sam Herman
Sam Herman is a contemporary glass artist. An early student of Harvey Littleton, Herman is credited as one of the founders of the Studio Glass movement in Great Britain...
, Tom McGlauchlin,
Christopher Ries
Christopher Ries
-Biography:Ries was born in Columbus, Ohio and grew up on a farm. He attended The Ohio State University, where he earned a BFA in glass and ceramics...
and Michael Taylor
Michael Taylor (glass artist)
Michael Taylor is an American studio glass artist, teacher and lecturer. His best known body of work is his geometric glass sculptures. He works the glass cold, shaping, polishing and laminating translucent colored and clear blocks of glass together using epoxy resin.-Early life and...
.
With the launching of the first college glass department Littleton said that he "...became a kind of evangelist for the medium." He gave lectures at university art departments throughout the midwest and northeast United States about the potential of glass as a medium for the studio artist. Littleton served as the chairman of the University of Wisconsin art department from 1964–1967 and from 1969–1971. He retired from teaching in 1976, and in 1977 was named professor emeritus. It was around this time that Littleton, in addition to his work in glass, began to develop the technique of vitreography
Vitreography
Vitreography is a fine art printmaking technique that uses a float glass matrix instead of the traditional matrices of metal, wood or stone. A print created using the technique is called a vitreograph...
— printmaking
Printmaking
Printmaking is the process of making artworks by printing, normally on paper. Printmaking normally covers only the process of creating prints with an element of originality, rather than just being a photographic reproduction of a painting. Except in the case of monotyping, the process is capable...
using glass plates.
"Technique is cheap"
In 1972 Littleton was at the Seventh National Sculpture Conference in Lawrence, Kansas when he uttered the words, "Technique is cheap." The statement touched off a debate that still finds currency among glass artists: Should technique, or content, take precedence in glass art?This was a question that Littleton had evidently been thinking about for some time. In his 1971 book, Glassblowing: A Search for Form, he wrote:
"The method used by the contemporary artist is a constant probing and questioning of the standards of the past and the definitions of the present to find an opening for new form statements in the material and process. It is even said that this search is an end in itself. Although knowledge of chemistry or physics as they apply to glass will broaden the artist’s possibilities, it cannot create them. Tools can be made, furnaces and annealing ovens can be built cheaply. But it is through the insatiable, adventurous urge of the artist to discover the essence of glass that his own means of expression will emerge."
The offhand phrase "technique is cheap" soon took on a life of its own. For some it was a rallying cry to discover the inherent possibilities of a "new" medium for the artist; for others the statement expressed nothing more than arrogant disdain for the timeless value of craftsmanship. In a 2001 interview for the Smithsonian’s Archives of American Art, Littleton commented on what he termed the "misinterpretation" of the phrase:
"All I meant by that is that technique is available to everybody, that you can read technique, if you have any background. Technique in and of itself is nothing. But technique in the hands of a strong, creative person, like VoulkosPeter VoulkosPeter Voulkos popular name of Panagiotis Voulkos, was an American artist of Greek descent. He is known for his Abstract Expressionist ceramic sculptures, which crossed the traditional divide between ceramic crafts and fine art....
or Dante MarioniDante MarioniDante Marioni is an American glass artist-Biography:Dante Marioni grew up among many artistic influences. His father, Paul Marioni, was involved in the American studio glass movement and, as a result, Dante was constantly exposed to the glassblowing artists of the San Francisco Bay Area...
, takes on another dimension."
Behind this point is another, as expressed by writer and curator William Warmus: "It might even be argued that Littleton sought long-term to put the artist back in control of the factory, even as he sought to put the furnace into the artist’s studio."
For Littleton, the epitome of technique vs. content was to be found in factory-made art glass, where the division of labor was inflexible. Traditionally the art glass designer was a draftsman who made a conceptual drawing for a glass object, and then passed it along to industry craftsmen for execution. According to Littleton, the factory designer “...is frustrated by the peculiar misplacement of his skill, and his inclusion in a process where little experimentation or interference is permitted. As for the factory craftsman, his training under the apprenticeship system "limited him to one phase in the production of glass. This training could not prepare anyone to function as an independent artist, but only to serve as a cog in the industrial machinery."
Work in glass
Neo-Dada
Neo-Dada is a label applied primarily to audio and visual art that has similarities in method or intent to earlier Dada artwork. It is the foundation of Fluxus, Pop Art and Nouveau réalisme. Neo-Dada is exemplified by its use of modern materials, popular imagery, and absurdist contrast...
work in the museum, purchased it for the Design Collection." This led to Littleton’s mid-1960s series of broken-open forms, and "Prunted," "Imploded" and "Exploded" forms.
These sculptures, especially the "Prunted," or "Anthropomorpic," forms were influenced by Littleton’s colleague Erwin Eisch, who visited and worked with Littleton in his Wisconsin studio for a month in late 1967. Several weeks after Eisch’s departure, Littleton realized that he had unconsciously adopted his friend's strongly personal figural style in his own work. Littleton reacted to this discovery by turning to simple, clean shapes in 1968, forming tubes, rods and columns of glass that he cut and grouped together on bases of plate glass or steel.
Allowing the pull of gravity to stretch and bend hot glass while on the blowpipe or punty led Littleton to his "Folded Forms" and "Loops" series, which continued until 1979. His "Eye" forms, also from the 1970s, take the form of concentric cups of various colors in diminishing sizes that nestle one inside the next.
Littleton explored cutting and slumping
Slumping
Slumping is one broad technique of warm glass working, for the forming of glass by applying heat to the point where the glass will soften. The increasing fluidity of the glass with temperature causes the glass to 'slump' into or onto the mold under the force of gravity.- Technique :Glass is most...
industrial glass, including plate and optic glass, beginning in 1970. In sculptures such as Do Not Spindle and Distortion Box, slumped squares of glass are transfixed by a brass rod. In Rock Around the Clock, a bent piece of optic glass bar from Corning Glass Works in Danville, Virginia, can be set rocking on its bronze plate glass base with a touch of the hand.
Littleton incorporated optical lens blanks manufactured by Corning with his own hot-worked glass. In each case he sandblasted and cut the optical disc draping, and in one case piercing, the disc with fluid, cased glass forms. These were followed, in 1978, by Littleton’s Solid Geometry series, in which heavy cased glass forms were cut into trapezoidal, spheroid and ovoid shapes and highly polished.
Perhaps Littleton’s best known body of work is his "Topological Geometry" group of series, made between 1983 and 1989. Included under this heading are his signature "Arc" forms and "Crowns," as well as his late "Lyrical Movement" and "Implied Movement" sculptural groups. In 1989 chronic back problems forced Littleton to retire from working in hot glass.
Public collections
Littleton's artwork is in the collections of museums worldwide, including the Metropolitan Museum of ArtMetropolitan Museum of Art
The Metropolitan Museum of Art is a renowned art museum in New York City. Its permanent collection contains more than two million works, divided into nineteen curatorial departments. The main building, located on the eastern edge of Central Park along Manhattan's Museum Mile, is one of the...
and the Museum of Modern Art
Museum of Modern Art
The Museum of Modern Art is an art museum in Midtown Manhattan in New York City, on 53rd Street, between Fifth and Sixth Avenues. It has been important in developing and collecting modernist art, and is often identified as the most influential museum of modern art in the world...
in New York City; Corning Museum of Glass
Corning Museum of Glass
The Corning Museum of Glass, in Corning, New York, explores every facet of glass, including art, history, culture, science and technology, craft, and design....
, Detroit Institute of Arts
Detroit Institute of Arts
The Detroit Institute of Arts is a renowned art museum in the city of Detroit. In 2003, the DIA ranked as the second largest municipally owned museum in the United States, with an art collection valued at more than one billion dollars...
, Indianapolis Museum of Art
Indianapolis Museum of Art
The Indianapolis Museum of Art is an encyclopedic art museum located in Indianapolis, Indiana, United States. The museum, which underwent a $74 million expansion in 2005, is located on a campus on the near northwest area outside downtown Indianapolis, northwest of Crown Hill Cemetery.The...
, Los Angeles County Museum of Art
Los Angeles County Museum of Art
The Los Angeles County Museum of Art is an art museum in Los Angeles, California. It is located on Wilshire Boulevard along Museum Row in the Miracle Mile vicinity of Los Angeles, adjacent to the George C. Page Museum and La Brea Tar Pits....
, Museum of Arts & Design, Museum of Fine Arts, Houston, Smithsonian Institution
Smithsonian Institution
The Smithsonian Institution is an educational and research institute and associated museum complex, administered and funded by the government of the United States and by funds from its endowment, contributions, and profits from its retail operations, concessions, licensing activities, and magazines...
and the Toledo Museum of Art
Toledo Museum of Art
The Toledo Museum of Art is an internationally known art museum located in the Old West End neighborhood of Toledo, Ohio, United States. The museum was founded by Toledo glassmaker Edward Drummond Libbey in 1901, and moved to its present location, a Greek revival building designed by Edward B....
, among numerous others. Overseas his work is in Glasmuseet Ebeltoft
Glasmuseet Ebeltoft
Located in Ebeltoft, Denmark, Glasmuseet Ebeltoft is a museum dedicated to the exhibition and collection of contemporary glass art worldwide. Its mission is to educate a broad audience in the appreciation of glass as an art form.-Establishment:...
in Denmark; Museum Bellrive
Museum of Design Zürich
The Museum of Design, Zurich is a museum for industrial design, visual communication, architecture, and craft in Zurich, Switzerland.- Overview :...
in Zürich, Switzerland; Museum Boijmans van Beuningen
Museum Boijmans Van Beuningen
The Museum Boijmans Van Beuningen is the main art museum in Rotterdam, the Netherlands. The museum began in 1847 with the collection of Frans Jacob Otto Boijmans . Much of the museum's original collection was destroyed in a disastrous 1864 fire...
in Rotterdam, Holland; National Museum of Modern Art, Kyoto
National Museum of Modern Art, Kyoto
The is an art museum in Kyoto, Japan.This Kyoto museum is also known by the English acronym MoMAK .-MoMAK history:...
in Japan; Hokkaido Museum of Modern Art in Sapporo, Japan; the Victoria and Albert Museum
Victoria and Albert Museum
The Victoria and Albert Museum , set in the Brompton district of The Royal Borough of Kensington and Chelsea, London, England, is the world's largest museum of decorative arts and design, housing a permanent collection of over 4.5 million objects...
in London; Glasmuseum Frauenau (Sammlung Wolfgang Kermer), and the Decorative Arts Museums in Frankfurt, Hamburg, Prague and Vienna.