Chess sets by F. Lanier Graham

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By F. Lanier Graham

No video game HAS see you later and wealthy a background as
chess; extra has been written approximately it than
any different video game. interestingly, despite the fact that, little
has been written approximately chesspieces. This
profusely illustrated quantity explores the
evolution and improvement of the "tools" of
the nice video game from the 5th via the
twentieth century. F. Lanier Graham, Assistant
Curator, division of Architecture
and layout of The Museum of Morlern
Art, presents a heritage of chess via his
discussion of the layout and that means of the
pieces, and hence provides a desirable subject
from a brand new vantage element. Of particular
interest is the part at the extra important
modern units, which provides Mr.
Graham's view that modern designs
offer a brand new truth to the traditional and revered

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Example text

The eyes originally were jewels. Below right : FIG. 28 German : Knight. 14th century. Ivory or hartshorn, 31Y;" in. high. Germanisches I'\ationalrlluseum" Nuremberg. FIG. 29 School of the Maitre aux Boqueteux. Allegory of Chess with personified ehesspieces. Illumination from Jacobus de Cessolis, Jeu des iehees moralist, translated from ' the Latin by Jean de Vignay, Northern France, ca. 1360. Tinted grisaille pen drawing on vellwn. The Pierpont Morgan Library, New York, Gift of William S, Glazier.

LVforeover, in certain Dada situations, the traditional distinction b etwe en art and reality can completely disappear. Being interested in chance relation­ ships and what happens "in between" art and life, they placed natural or rnanufactured "found ohjects" into the purely visual context of created or fo rmed objects, and \"latched appearances change. By juxtaposing aspects of the fonned and aspects of the found, the')" made art and reality overlap interact and become part of the same thing. Man Ray's Boardwalk of 1 9 1 7 (Fig.

26) completely occupies the space around him. His head and bod y are not Hat, graphicalLy demarked areas, but bulging masSe� bouncing space off every contour. His sh i dd is not placed by his body ; it is wrapped around him. His hand does not rest on top ofthe s\vord in a symbolic gesture of holding ; il i'i a c tua lly grasping the s\·\lord. lfth through the fourteenth centuries, chesspieces achieved this fuller plasticity. 'ipiece or as a full­ , cale sculpture, did not become the image of a completely independent individual until the Renaissance.

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