Vase
2011 (made)
| Artist/Maker | |
| Place of origin |
Mieke Groot has been one of the leading glass makers in the Netherlands for several decades. She uses complicated multi-layered enamel techniques on simple blown vase forms.
Helmut Ricke, former Director of the Kunstmuseum, Düsseldorf, has characterised her work:
'Mieke Groot is concerned with the vase as a timeless, "classical" carrier of expression and meaning.... The artist has placed all of her emphasis on the exterior, the shell of the undefined inner life. The enamel, applied in layers and fired in several stages, develops the cracked and torn structure that makes the objects so fascinating". (in: The Glass Skin, Corning, Hokkaido, Düsseldorf, 1998, p.60)
In most of Mieke's works of the first decade of the 21st century, the shiny transparent glass surface is almost completely covered with an enamel skin. The V&A has an example of this period in the collection, dating from 2002 (C.37-2002).
In her latest work Mieke has allowed larger areas of the glass to remain transparent. With its simple shapes and strong, geometrical decorations this work harks back to Dutch design from the early 20th century, such as Leerdam glass from the 1920s and 30s and the aesthetics of the 'de Stijl' movement around Gerrit Rietveld and Theo van Doesburg.
Helmut Ricke, former Director of the Kunstmuseum, Düsseldorf, has characterised her work:
'Mieke Groot is concerned with the vase as a timeless, "classical" carrier of expression and meaning.... The artist has placed all of her emphasis on the exterior, the shell of the undefined inner life. The enamel, applied in layers and fired in several stages, develops the cracked and torn structure that makes the objects so fascinating". (in: The Glass Skin, Corning, Hokkaido, Düsseldorf, 1998, p.60)
In most of Mieke's works of the first decade of the 21st century, the shiny transparent glass surface is almost completely covered with an enamel skin. The V&A has an example of this period in the collection, dating from 2002 (C.37-2002).
In her latest work Mieke has allowed larger areas of the glass to remain transparent. With its simple shapes and strong, geometrical decorations this work harks back to Dutch design from the early 20th century, such as Leerdam glass from the 1920s and 30s and the aesthetics of the 'de Stijl' movement around Gerrit Rietveld and Theo van Doesburg.
Object details
| Category | |
| Object type | |
| Materials and techniques | Clear pinkish glass, blown, sandblasted and enamelled |
| Brief description | Vase, elongated, bulbous, pinkish glass, blown, sandblasted and partly enemelled in black, Mieke Groot, Amsterdam, Netherlands, 2011. |
| Physical description | Vase, elongated, bulbous, made of pinkish transparent glass with a small circular base and opening; the surface is sand-blasted matte and half of it is covered with a dense pattern of splatters in shiny, raised black enamel. |
| Dimensions |
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| Gallery label |
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| Credit line | Anonymous gift |
| Object history | The vase was first shown in Paris at the Clara Scremini Gallery (from 20th September 2011) and subsequently at Clara's stand at Art and Design Berkeley Square in London (from 10th October 2011) where we acquired it. |
| Summary | Mieke Groot has been one of the leading glass makers in the Netherlands for several decades. She uses complicated multi-layered enamel techniques on simple blown vase forms. Helmut Ricke, former Director of the Kunstmuseum, Düsseldorf, has characterised her work: 'Mieke Groot is concerned with the vase as a timeless, "classical" carrier of expression and meaning.... The artist has placed all of her emphasis on the exterior, the shell of the undefined inner life. The enamel, applied in layers and fired in several stages, develops the cracked and torn structure that makes the objects so fascinating". (in: The Glass Skin, Corning, Hokkaido, Düsseldorf, 1998, p.60) In most of Mieke's works of the first decade of the 21st century, the shiny transparent glass surface is almost completely covered with an enamel skin. The V&A has an example of this period in the collection, dating from 2002 (C.37-2002). In her latest work Mieke has allowed larger areas of the glass to remain transparent. With its simple shapes and strong, geometrical decorations this work harks back to Dutch design from the early 20th century, such as Leerdam glass from the 1920s and 30s and the aesthetics of the 'de Stijl' movement around Gerrit Rietveld and Theo van Doesburg. |
| Bibliographic reference | The Corning Museum of Glass, 2012. 'New Glass Review 33. The Corning Museum of Glass', New York, p. 108. |
| Collection | |
| Accession number | C.101-2011 |
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| Record created | November 28, 2011 |
| Record URL |
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