Flowers From 1970 Summary – The examples and perspective in this article may not provide a complete overview of the topic. Please improve this article and discuss the issue on the talk page. (November 2021)
Artificial plants are imitations of natural plants used for commercial or residential decoration. Sometimes they are made for scientific purposes (the collection of glass flowers at Harvard University, for example, shows the flora of the United States).
Flowers From 1970 Summary
Artificial plants vary greatly from mass-produced varieties that are indistinguishable from real plants at a casual glance to highly detailed botanical or artistic specimens.
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Materials used to make them include colored webs and colored horn shavings in ancient Egypt, gold and silver in ancient Rome, rice paper in China, silkworm cocoons in Italy, colored feathers in South America, and wax and colorful shells.
Modern techniques include sculpted or molded soap, nylon netting stretched over wire frames, ground clay, and mass-produced plastic injection molding. Polyester has been the main material for the production of artificial flowers since the 1970s. Most artificial flowers on the market today are made of polyester fabric.
The industry is now highly specialized with several different production processes. Hundreds of artificial flower factories in the Pearl River Delta area of China’s Guangdong province have been built since the early 1980s. Thousands of 40-foot containers of polyester flowers and plants are exported to many countries every year.
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Although the most common material used to make artificial flowers is polyester fabric, both paper and cloth flowers are also made with origami.
The art of making nylon flowers is an easy-to-learn craft that uses simple tools and inexpensive materials to achieve stunning results. Growing nylon flowers was briefly popular in the United States in the 1970s, and soon became popular in Japan. In the right years, the popularity of the craft spread to Asia, Europe and Australia. With the introduction of new colors and materials, the art has expanded to endless possibilities for making nylon flowers.
The basic materials needed to make nylon flowers are: wire, gas wire, nylon material, nylon thread, floral tape and stamp. Some flowers require cotton balls or sheets (or cotton wool), white glue, acrylic paint and brushes.
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Silk flowers are made from protein fibers spun by the silkworm, creating life-like flowers. The “real touch” silk flowers are not made of silk, they are made of polyester, polymer and plastic.
In addition, textile products made from polyester but sold as “silk” violate US federal law – specifically the Textile Fiber Product Identification Act of 1959.
Clay flowers are made by hand using special air-dry polymer clay or cold porcelain, steel wire, paint, glue, tape and sometimes paper and foam as fillers. With the help of cutters, where each flower has its own cutting set, parts are cut out of the still soft clay and created with special tools. After drying, these parts are painted in detail if necessary and carefully assembled into a whole flower. Clay flowers can be very realistic. From Thailand, where this art is very popular, it spread to Europe, Russia and the USA.
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The glass is melted and hand blown into flower shapes. It is very difficult to work with glass at high temperatures to create a flower, which is why glass flowers are much more expressive than ordinary artificial flowers.
Injection molding is used for mass production of plastic flowers. Plastic is inserted into a previously formed metal matrix.
The journal Ethnobotany Research and Applications has published a cheeky paper it claims is the culmination of a six-year project on a complete artificial taxonomy of plants, which the group added to one family. called Simulacraceae (“family of symbolic plants”).
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The flower wreaths made by the ancient Egyptians were made from thin sheets of horn dyed in different colors. Sometimes they were made of copper leaf, gilded or coated with silver. The ancient Romans excelled in the art of imitating flowers in wax, and in this branch of art they attained a degree of perfection not practiced in modern times. Crassus, crowned by his wealth, presented the winners of the games he celebrated in Rome with crowns of artificial leaves made of gold and silver.
Sometimes more accurately, the Italians first gained fame because of the skill and taste they showed in this production. Later, glish, American, and especially French manufacturers were identified. The Chinese and Japanese show great confidence in this business. These early artificial flowers were made from multicolored ribbons that were twisted together and attached to small pieces of wire. But these first attempts were highly uncertain.
In the first half of the 19th century, the Swedish artist Emma Fürsthoff became an international standard in Europe for her artificial wax flower arrangements in a way that was considered innovative in the region. Contemporary Europe.
Ingeborg Benthine Debois 1897 1970 Art Nouveau Flower Still Life Roses Violet
In the 20th century, Colfax & Fowler, through Constance Spry, developed and promoted an elegant, if obvious, method of making wax-covered artificial flowers, which was based on the Victorian reference to paraffin-covered flowers.
Over time, the ribbons were replaced by feathers, a more delicate material, but it did not so easily give the necessary shades of color. The feathers of South American birds are adapted for artificial flowers because of their quality and color fastness, and the natives of that region have long been successfully used in making feather flowers. London Zoo has a collection of artificial flowers made from hummingbird feathers. A fair-skinned man and woman look at each other, surrounded by blooming flowers and lush green trees in this square landscape. The palette is dominated by shades of bright green and blue, and is brightly colored with spots and short strokes, blurring the details. People are standing to the left of the center and they are both dressed in dark blue. A man stands opposite our right hand, almost in profile, and leans slightly forward with one hand moving towards the flowers. He wears a waistcoat and trousers, a white shirt and a gold cap. A woman is standing near him on our right and is facing us with her head turned to look at the man. She wears a long dress, a cherry-red cap, and what appears to be denim blue and a cherry-red scarf around her neck. Trees fill the right half of the picture, and the variety of flowering shrubs nearest us almost cover the width of the scene. Their blooms are complemented by touches of rose and petal pink, cream white, mustard yellow and azure blue. Behind the man and woman are suggested further flower bushes with bright colors of white and laurel green, with scattered dots of red poppies. Pale pink clouds pass through the topaz-blue sky in the upper left corner. The artist signed the lower right painting “Renoir”.
Maybe (Durand-Ruel, Paris). (Sam Salz, New York). [1] (M. Knoedler & Co., London), c. 1923.[2] (Howard Young Galleries, New York); Mrs. LL Coburn, Chicago, before 1932; [3] Art Institute of Chicago until 1947; [4] (Carroll Carstairs, New York); sold 1 Dec 1947 to Ailsa Mellon Bruce [1901-1969], New York;[5] bequeathed 1970.
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[4] Letter to David Rust, of the Art Institute of Chicago, dated January 12, 1977, now in archival files.
Exhibition of Mrs. LL Coburn’s Collection of Modern Paintings and Watercolors, The Art Institute of Chicago, 1932, no. 30.
French Paintings from the Collections of Mr. and Mrs. Paul Mellon and Mrs. Mellon Bruce, National Gallery of Art, Washington, 1966, no. 102, repr.
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National Gallery of Art Impressionisti della in Washington, Ala Napoleonica and Museo Correr, Venice; Palazzo Reale, Milan, 1989, catalog unnumbered, repro.
Renoir: und das Frauenbild des Impressionismus (Renoir and the Female Painting of the Impressionist Era), Kunsthalle Krems, Krems-Stein, Austria, 2005, catalog no., repro. 50.
Renoir Landscapes 1865-1883, National Gallery, London; National Gallery of Canada, Ottawa; Philadelphia Museum of Art, 2007-2008, no. 38, repeat.
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Paris. Gli anni meravigliosi. Impressionism against the Salon [Paris. Big years. Impressionism against salons], Castel Sismondo, Rimini, 2010-2011, no. 32, repeat.
Impressionism in close-up from the National Gallery of Art, Museo dell’Ara Pacis Augustae, Rome (title of exhibition at this institution: Impressionist Jewels); California Palace of the Legion of Honor, San Francisco; McNay Museum of Art, San Antonio; Mitsubishi Ichigokan Museum, Tokyo, Seattle Art Museum, 2013-2016. Editor and reviewer links are most recently provided on their Loop research profiles and may not reflect their position at the time of review.
Various related floral traits have repeatedly arisen in angiosperms through cooperative evolution in response to pollinator selection to optimize reproduction. Although some plant groups show very different combinations of traits adapted to specific pollinators (so-called pollination syndromes), others do not. Determining how floral traits vary across clades, and whether floral traits show potential correlations in different groups of flowering plants, is critical to determining the extent to which pollinator-based selection drives diversification. The North American Silene genus Physolychnis is an ideal group for studying floral evolutionary patterns because it is characterized by the evolution of a new, broad red flower color.
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