А ровно через 10 лет Линдстранд перешел в компанию «Kosta», в которой вновь обратился к художественному стеклу и стал создавать более красочные работы в модернистском ключе.
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10 years after, Lindstrand joined Kosta and resumed his career in art glass, this time with more colorful pieces in the spirit of modernism.
(photos here and above via pamono.com, scandinaviantimeless.design, bukowskis.com, invaluable.com, konstantik.se, scottishantiques.com, lynways.com, ebay.com, veniceclayartists.com, lelandlittle.com, wright20.com, askart.com, metropol.se, modernity.se, auctionet.com, cornershop-design.com, vntg.com)
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10 years after, Lindstrand joined Kosta and resumed his career in art glass, this time with more colorful pieces in the spirit of modernism.
(photos here and above via pamono.com, scandinaviantimeless.design, bukowskis.com, invaluable.com, konstantik.se, scottishantiques.com, lynways.com, ebay.com, veniceclayartists.com, lelandlittle.com, wright20.com, askart.com, metropol.se, modernity.se, auctionet.com, cornershop-design.com, vntg.com)
Мы очень любим истории про сотрудничество предпринимателей с художниками. Одна из самых известных историй современности на эту тему, которая, кстати, относится к рассматриваемому нами периоду, касается барона Филиппа Ротшильда и начатой им традиции каждый год привлекать известного художника для работы над винными этикетками. В разные годы бутылки с великим вином украшали этикетки, выполненные не менее великими художниками, в частности, Пикассо, Шагалом, Миро, Кандинским и многими другими.
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We really like success stories about collaborations between entrepreneurs and artists. It seems that one of the most representative stories of modern times, which, by the way, spans the mid-century period, is about Baron Philippe Rothschild who established a tradition of commissioning prominent artists to design wine labels. As a result, the exquisite content of bottles was paired with exquisite paintings on their labels by world famous artists such as Picasso, Miró, Chagall, Kandinsky, and many others.
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We really like success stories about collaborations between entrepreneurs and artists. It seems that one of the most representative stories of modern times, which, by the way, spans the mid-century period, is about Baron Philippe Rothschild who established a tradition of commissioning prominent artists to design wine labels. As a result, the exquisite content of bottles was paired with exquisite paintings on their labels by world famous artists such as Picasso, Miró, Chagall, Kandinsky, and many others.
Но мы сейчас не о них, а об Александре Колдере, взаимоотношения которого с авиацией не были ограничены вчерашним мобилем в аэропорту Нью-Йорка. В 1973 г. авиакомпания «Braniff» обратилась к Колдеру за проектами ливреи для трех самолетов. Первым из самолетов, получивших новый окрас, а с ним и название «Flying Colors of South America», стал Douglas DC-8, совершавший рейсы преимущественно в Южную Америку.
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But this is not what we were going to talk about today. Instead, we wanted to follow up on our yesterday’s post with a new note on Alexander Calder whose relationship with aviation had not been limited to that mobile. In 1973, Braniff Airlines approached Calder with a request to design new liveries for three aircraft. The first was a Douglas DC-8, which was mostly used on South American flights. The plane was thus painted in bright colors and became known as “Flying Colors of South America”.
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But this is not what we were going to talk about today. Instead, we wanted to follow up on our yesterday’s post with a new note on Alexander Calder whose relationship with aviation had not been limited to that mobile. In 1973, Braniff Airlines approached Calder with a request to design new liveries for three aircraft. The first was a Douglas DC-8, which was mostly used on South American flights. The plane was thus painted in bright colors and became known as “Flying Colors of South America”.
В качестве холста для второй работы был выбран Боинг 727-200. Создание новой ливреи для него было приурочено к 200-летию США, поэтому самолет был выкрашен в цвета американского флага и получил название «Flying Colors of the United States».
В 1976 году Колдер скончался, не успев завершить работу над последней ливреей, которая была посвящена Мексике и должна была называться «Flying Colors of Mexico» или «Salute to Mexico».
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The second livery was designed for a Boeing 727-200 and dedicated to the Bicentennial of the United States. The plane was thus painted with the colors of the Star-Spangled Banner and called “Flying Colors of the United States”.
Calder died in 1976 while finishing a third livery provisionally entitled “Flying Colors of Mexico” or “Salute to Mexico” and this project was never completed.
(photos here and above via chateau-mouton-rothschild.com, airwaysmag.com, Braniff International’s Twitter, Braniff Airways Foundation, Getty Images)
В 1976 году Колдер скончался, не успев завершить работу над последней ливреей, которая была посвящена Мексике и должна была называться «Flying Colors of Mexico» или «Salute to Mexico».
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The second livery was designed for a Boeing 727-200 and dedicated to the Bicentennial of the United States. The plane was thus painted with the colors of the Star-Spangled Banner and called “Flying Colors of the United States”.
Calder died in 1976 while finishing a third livery provisionally entitled “Flying Colors of Mexico” or “Salute to Mexico” and this project was never completed.
(photos here and above via chateau-mouton-rothschild.com, airwaysmag.com, Braniff International’s Twitter, Braniff Airways Foundation, Getty Images)