By Franz Simandl
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Some the person accounts of these accounts reached second and third decades :entury. We also learned a great ving associates and deearly craftworkers, 5 some most art museums. The crafts are still under-represented in the twentiethcentury collections of many museums, although a small but growing number of museums specialize in the craft media early manifestation of the be noted in a group of Helen Tanner Brodt's china paintings from the 1880s. The crafts of some regions of the country retained vestiges of their folk traditions of nd memorabilia despite the cultural upheavals resulting from industrialization.
Gail Skoff and Barbara Kas- benefited from and contributed to the and new vision, as Bill Owens Imogen Cunningham in in the Suburbia, Angeles swimming pool in his Los While Ansel Adams and Don Worth, Weston and Willard Van Dyke con- Brett cu- tinued to refine their interest in the visu- new generawas turning away Area group, but also the frankly experi- from younger artists fine art printing methods in exhibiting works from and has acquired significant examples. In the last decade, the patronizing interest Eastern critics their California.
For A substantial amount De Patta 's jewelry, donated by her widower and co-worker, Eugene Bielawski, of ists in number of artemerged whose work was indepen- dent and individual in character. A common goal of the time was to achieve acceptance for crafts as hand- made objects that were art forms to be valued for their unique qualities. The term "designer craftsman" came into common begun usage as a concerted effort was to elevate the role of the craft- worker from its secondary status to that of artist.
30 Etudes for the String Bass by Franz Simandl