Teapot+Goblets

Date: 1991, 1992, 1992, 1994, 1994
 * [[image:http://ids.si.edu/ids/deliveryService?id=http://americanart.si.edu/images/1995/1995.24.1_2a.jpg&max=460 width="382" height="259" link="@http://americanart.si.edu/collections/search/artwork/results/index.cfm?gsearch=1&rows=10&q=Teapot%20Goblets&page=1&start=0&x=0&y=0"]] || Title: **Teapot Goblets**

Artist: **Richard Marquis** Born: Bumble Bee, Arizona 1945

Medium: hand-blown glass Dimensions: 1991 (#260) 7 5/8 x 5 3/4 in. (19.5 x 14.7 cm) diam. 1992 (#306) 7 3/4 x 5 in. (19.8 x 12.8 cm) diam. 1992 (#324) 11 x 3 5/8 in. (28.0 x 9.3 cm) diam. 1994 (#94-14) 10 1/2 x 4 1/2 x 3 1/2 in. (26.7 x 10.9 x 9.0 cm) 1994 (#94-17) 10 1/4 x 4 x 3 5/8 in. (26.1 x 10.3 x 9.3 cm) Smithsonian American Art Museum Gift of the James Renwick Alliance

Accession: || The //Teapot Goblets// employ //zanfirico//, an Italian glass technique in which glass canes are twisted to form an intricate lattice. Richard Marquis brings his love of assemblage to his teapot forms, attaching single pieces of his trademark //murrine// to the surface.
 * About the Artwork (Official Text): **

"I chose to work with the teapot form for three reasons. First, it had no glass tradition. Second, it was so un-macho compared to the prevailing "dip-n'-drip" school. Last, it had so many elements with which to mess around." Richard Marquis, University of Washington Press, 2003
 * Artist's Statement: **

Richard Marquis has had an extraordinary influence on the development of contemporary studio glass in America and around the world. Studying at the University of California at Berkeley during the 1960s, he explored ceramics and was introduced to glassblowing. Unsatisfied by the limited techniques practiced in American studio glass at that time, Marquis went to the island of Murano, near Venice, to observe and work with the masters of a glassblowing tradition acknowledged as the best in the world. Freely sharing his knowledge of the techniques he learned in Venice, Marquis has demonstrated and taught throughout the United States, Europe, Japan, Australia, and New Zealand. The effect of Venetian glassblowing techniques on American studio glass enabled glass artists to expand their technical vocabularies and, combined with new and experimental approaches, led to the redefinition of glass as an artistic medium.
 * Biographical Information: **

First published in 1995, Wignall Museum/Gallery catalog; //Breaking Tradition, The Fine Art of Glass.// Mr. Marquis has been working with glass since before the Beatles broke up. He studied at the University of California at Berkeley, where he received his B.A. and M.A. He worked for a year at the Venini factory in Italy. He is represented in many public collections worldwide, and has received numerous grants and awards, including three Fulbright Fellowships and four grants from the National Endowment for the Arts. He has traveled extensively, and conducted workshops around the world. While versed in Italian techniques, Mr. Marquis does not follow any particular rules or styles. He used to teach at various places (including U.C.L.A., where he was head of the glass department), but he has become reclusive nowadays and he keeps his public appearances to a minimum. For the past 10 years, he has lived and worked on Whidbey Island in Washington State. He doesn't return phone calls nor answer letters and he does not need an apprentice.

Artist Biography SAAM Collections Pages Richard Marquis
 * Links: **