"On the threshold of the twentieth century, Louis Comfort Tiffany was revered both in the United States and abroad, but by 1933, the year he died, his work had been dismissed as fussy and hopelessly passe. In the mid-1950s, a few prescient collectors and scholars began to look anew at the once despised lamps and vases. By the 1970s and '80s, as functionalism and strict by-the-book modernism began to pall, the public rediscovered the alluring sinuosities of European Art Nouveau. Tiffany's reputation benefited from this shift, and prices soared, but his unique achievement was also obscured by the association. In this first twenty-first-century reappraisal, Louis Comfort Tiffany is shown to be a protean figure whose vast output was disconcertingly varied, even eclectic, yet clearly informed by a unique and singular vision."--Jacket.
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