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Ghysels
The forms are the sculpture. They are its limbs.They create free movement, the articulation of corporal movements, breathing, heartbeats, cries and murmurs. They move. Jean-Pierre Ghysel's sculptures do not break the roundness of the terrestrial globe.They are in dialogue with it and live within it. They have their spaces and refuges. They are interlaced ensembles, an encounter between matter and space, images of the earth on or under which we live. Jean-Pierre Van Tieghem. Jean-Pierre Ghysels was born in Brussels in 1932. After graduating from the Maredsous Art School in 1952, he went to Paris on a grant where he studied under Ossip Zadkine at the Académie de la Grande Chaumière and devel...
Splendor of Ethnic Jewelry
Colette Ghysels herself provides detailed captions for all the illustrations, identifying materials and craft methods, giving tribal names and uses for the objects, and offering a more sophisticated appreciation not only of the value, rarity, and significance, but of the beauty of each work.
The Splendour of Ethnic Jewelry
Throughout history jewellery has expressed a multitude of meanings - social position, marital status, self-esteem. Richly elaborate or elegantly simple, Native American beadwork, Turkoman silver, Burmese jade and other examples of ethnic jewellery are avidly sought by collectors. This book reveals the full splendours and the subtle meanings behind the finely crafted works of art in one of the world's finest private collections of ethnic jewellery - that of Colette and Jean-Pierre Ghysels, which has until now remained carefully protected in Brussels, never exhibited extensively, and accessible only to selected scholars.
JEAN PIERRE GHYSELS.
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Ghysels
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Orfèvres lointains
Collectionneurs passionnés, esthètes et voyageurs, Jean-Pierre et Colette Ghysels ont amassé pendant plus de trente ans les bijoux les plus fabuleux et les plus rares. En or, en argent, en cuivre, en bronze ou en fer, incrustés de pierreries (diamants, cornaline, turquoise, ambre) enrichis de fourrures d'animaux, de griffes, de plumes ou de coquillages, ces bijoux témoignent tous d'une facture exceptionnelle en même temps qu'ils apportent un enseignement capital sur les civilisations et les peuples dont ils proviennent. Grâce aux commentaires qui accompagnent chaque bijou, le lecteur comprendra la valeur, la rareté ou la symbolique de chaque pièce, mais aussi les caractéristiques qui en font une œuvre d'art. Ces parures sont un émerveillement, et cette collection enchantera les amateurs de bijoux et d'objets d'art, mais aussi tous ceux qui souhaitent étendre leur connaissance sur le sujet.
Jean-Pierre Ghysels
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Ghysels
Cette première monographie consacrée au sculpteur belge Jean-Pierre Ghysels présente une remarquable sélection du travail de l'artiste, de sa dernière œuvre figurative datant de 1965 aux récentes sculptures abstraites qui témoignent d'un art abouti. Né en 1932 à Bruxelles et diplômé en 1953 de l'école d'art de Maredsous, il se voit attribuer une bourse du gouvernement français qui lui permet de suivre à Paris les cours d'Ossip Zadkine à l'académie de la Grande Chaumière. Lauréat du prix Godecharle de sculpture en 1958, il voyage durant deux ans au Moyen-Orient et en Orient où il puise son inspiration dans une certaine philosophie de vie qu'il traduit dans son œuvre empreinte d'équilibre et de sensualité. Les œuvres de Jean-Pierre Ghysels de petit format ou monumentales - se retrouvent dans de nombreuses collections particulières et publiques, tant en Belgique qu'à l'étranger.
A World of Head Ornaments
Publisher Description
Gender and Jewelry
Jewelry responds to our most primitive urges, for control, honor, and sex. It is at once the most ancient and most immediate of art forms, one that is defined by its connection and interaction with the body. In this sense it is inescapably political, its meaning bound to the possibilities of the body it lies on. Indeed, the fate of the body is often bound to the jewelry. This study looks at gender and jewelry in order to gain some understanding into how jewelry is constructed by and constructs not just a single society, but human societies. It will explore how societal traditions that have sprung up around jewelry and ornamentation have affected the possibilities available to women across a broad spectrum of social and ethnic circumstances, determining which have served women well and which are constrictive and destructive. It also examines the possibilities for the intentional creation of feminist jewelry, including an overview of the author's own work.
