Rinck, Jonathan. “Seventeenth-Century European Drawings in Midwestern Collections: The Age of Bernini, Rembrandt, and Poussin.” Sixteenth Century Journal 47, no. 2 (Summer 2016): 522-524.
Abstract: The article reviews the book, “Seventeenth-Century European Drawings in Midwestern Collections: The Age of Bernini, Rembrandt, and Poussin” edited by Shelley Perlove and George S. Keyes.
Rinck, Jonathan. “The mushroom houses of Earl Young.” Michigan History Magazine no. 4 (2016): 17-22.
Abstract: The word most often used to describe the unique designs of self-taught architect Earl Young is “organic.” His Charlevoix structures — often integrating stone walls, rolling roofs, cedar shingles, and squat profiles — look like they rose up out of the ground. And would be equally home in Middle-earth.
Rinck, Jonathan. “The Richard and Helen DeVos Japanese Garden: A Haven for Sculpture, Body, and Soul.” Sculpture 35, no. 5 (June 2016): 20-21.
Abstract: A review is offered for the Richard and Helen DeVos Japanese Garden opened at the Frederik Meijer Gardens and Sculpture Park which is considered suitable for sculptures.
Rinck, Jonathan, and Jonathan Garn. “Earth, Fire and Vegetable Oil.” Ceramics Technical no. 41 (November 2015): 84-87.
Abstract: The article presents ceramist Aaron Cole’s kiln that runs on waste vegetable oil and provides possibilities for an inexpensive firing process that is more affordable and sustainable than traditional firing methods. Topics discussed include Cole’s development of a kiln that recycles Spring Arbor University’s waste vegetable oil to use as fuel and the kiln’s capability of firing up to cone 8 with minimal sources of propane and gasoline thus offering a free alternative to more traditional fuels.
Rinck, Jonathan. “Pewabic pottery: Still glazing after all these years.” Ceramics Technical 41 (2015): 112.
Abstract: The article presents Pewabic Pottery established by Mary Chase Perry-Stratton who modelled and fired her first clay pot when she was only 5 years old but took pottery seriously in her 30s. Pewabic Potter is characterized by its emphatically handmade appearance as Perry-Straton wanted her work to retain a human touch. The pottery continues to operate at present, filling large commissions like the work for The Detroit Zoo and Chicago’s Shed Aquarium.
Rinck, Jonathan. “Matthias Alten in Michigan.” Michigan History Magazine 99, no. 5 (September/October 2015): 32-37.
Abstract: The flickering, impressionistic brushstrokes and colors of Mathias Alten’s paintings — some 2,500 in number — were much admired in their time. He traveled and painted across Europe, finding particular inspiration on Spain’s Mediterranean coast. But the artist resisted the enticing allure of living on the continent, as so many other American painters of the early 20th century did. After all his journey’s abroad, he unfailingly returned home to Michigan, the inspiration for his finest paintings.
Rinck, Jonathan. “City of Ladies.” Sixteenth Century Journal 46, no. 1 (Spring 2015): 205-207.
No abstract is available.
Rinck, Jonathan. “The Altarpiece: A Novel.” Sixteenth Century Journal 45, no. 1 (Spring 2014): 213-215.
Abstract: The article reviews the book, “The Altarpiece: a Novel” by Sarah Kennedy.
Rinck, Jonathan. “Portraits, Painters, and Publics in Provincial England, 1540-1640.” Sixteenth Century Journal 44, no. 2 (Summer 2013): 553-554.
Abstract: The article reviews the book “Portraits, Painters, and Publics in Provincial England, 1540-1640,” by Robert Tittler.
Rinck, Jonathan. “Pewabic Pottery Among the Peacocks: The Partnership of Charles Lang Freer and Mary Chase Perry-Stratton.” Ceramics: Art & Perception no. 91 (March 2013): 62-64.
Abstract: The peacock room is one of the most well-known products of the 19th century aesthetic movement, perhaps largely because of the story of its creation. American artist James McNeil Whistler painted the room in 1876-1877 which, at the time, belonged to the London home of Frederick Leyland. Although he was only supposed to retouch a botched paint job by a previous artist, Whistler famously gave the room a complete makeover while Leyland was away. Upon his return, Leyland was mortified and fired Whistler, but this did not stop the tenacious Whistler from returning and adding the now famous peacocks on the wall. In 1904, the room (and the Whistler paintings it contained) was acquired by Charles Freer and brought to the US, where it eventually became the centrepiece of the Freer Art Gallery. Freer purchased the room specifically to display his collection of Asian pottery. But Freer also used the room to display the ceramic pottery of Mary Chase Perry- Stratton (1867-1961). In fact, Perry-Stratton’s ceramics were the only works by a contemporary artist that Freer ever displayed in the room. Although the Peacock room is mostly associated with Whistler, Perry-Stratton’s ceramics once assumed a visibly robust presence in their own right.
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