{ "objects" : [ { "embark_ID" : 3043, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/3043", "Disp_Access_No" : "1944.7", "_AccNumSort1" : "", "Disp_Create_DT" : "1920-1929", "_Disp_Start_Dat" : "1920", "_Disp_End_Date" : "1929", "Disp_Title" : "Design for Decorative Lighting", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Claude Fayette Bragdon", "Sort_Artist" : "Bragdon, Claude Fayette", "Disp_Dimen" : "16 1/2 x 11 5/8 in. (41.9 x 29.5 cm)", "Disp_Height" : "16 1/2 in.", "Disp_Width" : "11 5/8 in.", "Dimen_Extent" : "", "Medium" : "Ink", "Support" : "thin board", "Disp_Medium" : "India Ink on thin board", "Info_Page_Comm" : "As an architect, Bragdon had long been frustrated by the lack of a modern architectural ornament style free from cultural and historical associations. Like philosophers and artists before him, he sought a sacred geometry of cosmic significance and harmonious design. In his 1915 book Projective Ornament he outlined a universal system of design based on numbers and geometry abstracted from nature. Bragdon’s mystical beliefs influenced his use of the fourth dimension in creating his ornament. He believed in the fourth dimension as a mystical hyperspace that explained some of the mysteries of life and the afterlife. Bragdon based his new ornamental style on a complex system of projecting and manipulating two-dimensional shapes such as squares and triangles into four-dimensional shapes such as tesseracts and pentahedroids. Claude Bragdon was a prolific writer who often illustrated his books with his own projective ornament designs. This design begins the chapter “The Eternal Feminine” in Old Lamps for New: The Ancient Wisdom in the Modern World (1925). Bragdon envisioned projective ornament as a universal design system for all facets of life from architectural environments to book jackets, from clothing to lamps. [Gallery label text, 2010]", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Drawing", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/44.7_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/44.7_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/44.7_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/44.7_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "33954", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 3561, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/3561", "Disp_Access_No" : "1956.91", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1915", "_Disp_Start_Dat" : "1910", "_Disp_End_Date" : "1920", "Disp_Title" : "Shield for Song and Light Festival", "Alt_Title" : "Design for Stained Glass Medallion", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Claude Fayette Bragdon", "Sort_Artist" : "Bragdon, Claude Fayette", "Disp_Dimen" : "13 3/8 x 13 3/8 in. (34 x 34 cm)", "Disp_Height" : "", "Disp_Width" : "13 3/8 in.", "Dimen_Extent" : "", "Medium" : "Watercolor", "Support" : "paper", "Disp_Medium" : "Watercolor and ink on paper with glass and lead", "Info_Page_Comm" : "Like philosophers and artists before him, Claude Bragdon sought a sacred geometry of cosmic significance and harmonious design. In his 1915 book Projective Ornament he outlined a modern, universal system of design based on numbers and geometry abstracted from nature. Bragdon’s beliefs in Theosophy influenced his use of the fourth dimension in creating his ornament. He believed in the fourth dimension as a mystical hyperspace that explained some of the mysteries of life and the afterlife. Bragdon based his new ornamental style on a complex system of projecting and manipulating two-dimensional shapes such as squares and triangles into four-dimensional shapes such as tesseracts and pentahedroids. In September of 1915, Claude Bragdon helped organize the Song and Light Festival, a community-building public singing event held in Highland Park. As Master of Light, Bragdon used projective ornament to design colorful circular glass shields and Japanese-style lanterns that he artfully arranged around the stage. Lit by electricity, Bragdon’s projective ornament designs created an otherworldly outdoor environment likened to a “cathedral without walls.” Bragdon was intensely absorbed and inspired by this new endeavor in which he could aid progressive social reform using his passion for color, light, drama and modern ornament. The popularity of the Rochester festival soon spread to other cities in the northeast, and Bragdon was involved in staging Song and Light Festivals through 1918. [Gallery label text, 2010] ", "Dedication" : "Gift of Chandler Bragdon", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Decorative Arts", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/56.91_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/56.91_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/56.91_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/56.91_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "27100", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 3560, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/3560", "Disp_Access_No" : "1944.6", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1939-1941", "_Disp_Start_Dat" : "1939", "_Disp_End_Date" : "1941", "Disp_Title" : "Mathematical Abstraction No. 5 "Study in complementaries"", "Alt_Title" : "Projective Ornament", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Claude Fayette Bragdon", "Sort_Artist" : "Bragdon, Claude Fayette", "Disp_Dimen" : "28 3/8 x 20 5/16 in. (72.1 x 51.6 cm)", "Disp_Height" : "28 3/8 in.", "Disp_Width" : "20 5/16 in.", "Dimen_Extent" : "sheet", "Medium" : "Watercolor", "Support" : "thin board", "Disp_Medium" : "Watercolor, charcoal, ink and pen with red ink", "Info_Page_Comm" : "Bragdon’s Mathematical Abstractions is a set of images based on mathematical relationships and suggestive of cosmic forms in the solar system. This series grew out of Bragdon’s continued interest in uniting color, form, and music. The series was exhibited in 1941-42 in Hartford, New York City, and finally in Rochester at the Memorial Art Gallery, where Bragdon’s patrons, Dr. and Mrs. James Sibley Watson, agreed to purchase this one for MAG. Bragdon wrote about the gift to Isabel Herdle, MAG curator, in 1944: “It is the one which your sister [Gertrude Herdle Moore, MAG director] and Fritz [Trautmann] decided would be best and which was also settled upon by Mrs. Watson and myself.” The Mathematical Abstraction series was best described by the artist in the 1941-42 exhibition brochure: "These fifteen water-color paintings represent the final distillation of Mr. Bragdon’s creative ability in a field which he has made his own. Although susceptible of classification as non-representational, or non-objective art, they are unique by reason of the fact that Mr. Bragdon is a skilled mathematician and geometer as well as an artist. He does not wish these paintings to be viewed, however, from any other standpoint than that of their intrinsic beauty—their purely aesthetic appeal. He believes that mathematical truth is at the root of all beauty, and that in the same sense that music may be said to be the beauty of mathematics made audible, so are these paintings mathematics made visible. After having made many hundred drawings, Mr. Bragdon made the paintings here and now exhibited, which from one point of view might be regarded as so many 'stills' of color symphonies seen by the author 'in his mind’s eye.' One of the pioneers in the new art of Color Music, Mr. Bragdon has from far back employed his spare time and his spare money in the construction of one “color-organ” after another, in which it was his idea to add luminosity, color, rhythm, mobility, to his designs derived from mathematical sources. Convinced, after many failures, that the most satisfactory way in which this might be accomplished was by the animated cartoon technique, he made a study of it with this in view, and tried to interest the moving picture people in his idea. None of them were prepared, however, to invest the necessary amount of money in what they regarded as an uncertain venture. Walt Disney, meantime, a free agent, with the means at his disposal, had gone ahead and in certain parts of “Fantasia”—notably in the “sound-track” sequence—approximated some of the color-music effects which Mr. Bragdon had had in mind." Excerpt from Mathematical Abstractions exhibition brochure, 1941-42 [Gallery label text, 2010] ", "Dedication" : "Gift of Friends of the Gallery", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Watercolor", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/44.6_A3.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/44.6_A3.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/44.6_A3.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/44.6_A3.jpg", "IsPrimary" : "1", "_SurrogateID" : "33962", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "See other views on disk: MAG 100622", "View" : "" } , ] },{ "embark_ID" : 4154, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4154", "Disp_Access_No" : "1999.61", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1939-1941", "_Disp_Start_Dat" : "1939", "_Disp_End_Date" : "1941", "Disp_Title" : "Mathematical Abstraction No. 14 "The sun by day and the moon by night"", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Claude Fayette Bragdon", "Sort_Artist" : "Bragdon, Claude Fayette", "Disp_Dimen" : "28 3/8 x 20 x 1 3/16 in. (72.1 x 50.8 x 3 cm)", "Disp_Height" : "28 3/8 in.", "Disp_Width" : "20 in.", "Dimen_Extent" : "sheet", "Medium" : "Watercolor", "Support" : "four ply board", "Disp_Medium" : "Watercolor and graphite on four ply Whatman watercolor board", "Info_Page_Comm" : "Bragdon’s Mathematical Abstractions is a set of images based on mathematical relationships and suggestive of cosmic forms in the solar system. This series grew out of Bragdon’s continued interest in uniting color, form, and music. The series was exhibited in 1941-42 in Hartford, New York City, and finally in Rochester at the Memorial Art Gallery. The Mathematical Abstractions were best described by the artist in the 1941-42 exhibition brochure: "These fifteen water-color paintings represent the final distillation of Mr. Bragdon’s creative ability in a field which he has made his own. Although susceptible of classification as non-representational, or non-objective art, they are unique by reason of the fact that Mr. Bragdon is a skilled mathematician and geometer as well as an artist. He does not wish these paintings to be viewed, however, from any other standpoint than that of their intrinsic beauty—their purely aesthetic appeal. He believes that mathematical truth is at the root of all beauty, and that in the same sense that music may be said to be the beauty of mathematics made audible, so are these paintings mathematics made visible. After having made many hundred drawings, Mr. Bragdon made the paintings here and now exhibited, which from one point of view might be regarded as so many 'stills' of color symphonies seen by the author 'in his mind’s eye.' One of the pioneers in the new art of Color Music, Mr. Bragdon has from far back employed his spare time and his spare money in the construction of one “color-organ” after another, in which it was his idea to add luminosity, color, rhythm, mobility, to his designs derived from mathematical sources. Convinced, after many failures, that the most satisfactory way in which this might be accomplished was by the animated cartoon technique, he made a study of it with this in view, and tried to interest the moving picture people in his idea. None of them were prepared, however, to invest the necessary amount of money in what they regarded as an uncertain venture. Walt Disney, meantime, a free agent, with the means at his disposal, had gone ahead and in certain parts of “Fantasia”—notably in the “sound-track” sequence—approximated some of the color-music effects which Mr. Bragdon had had in mind." Excerpt from Mathematical Abstractions exhibition brochure, 1941-42 [Gallery label text, 2010]", "Dedication" : "Gift of Peter Bragdon", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Watercolor", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/99.61_A3.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/99.61_A3.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/99.61_A3.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/99.61_A3.jpg", "IsPrimary" : "1", "_SurrogateID" : "33981", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "See other views on disk: MAG 100622", "View" : "" } , ] }, ] }