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SOM#080, Boris Buzan, Moon Landing, 1969
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From the collection of John Birks
Number issued: 1061 Bronze
FROM THE ARTIST
The theme of this medal is the monumental creative achievement of mankind in the field of technology.
Obverse: The intaglio portion simulates the television tube through which most of the world actually witnessed the momentous event.
The five larger figures in front of the space control panel symbolize the many unsung "groundlings": thousands of space technologists, engineers, mathematicians and technicians who made this great event possible.
I chose the high relief "V" symbol to represent success in this most daring venture into the unknown and the many figures on its sides represent the public's approval and exultation in the space project.
Reverse: While self-explanatory, represents "the moment of truth" -- man's very first step on another celestial body other than his natural habitat, the Earth.
Mankind, in its everlasting search for knowledge will ever explore the unknown in whatever field of endeavor. Unlimited space, its vastness, presents to mankind its greatest challenge. What it portends for the future very few of us earthlings can ever begin to imagine much less foretell.
ABOUT THE ARTIST
Boris Buzan was born in 1915 in the well known resort city of Opatija, Yugoslavia, located on the northeastern shores of the Adriatic sea. Between the two world wars this peninsula was occupied by what was then Mussolini's Italy. This oppressive dictatorship was the primary motivation to immigrate to the United States. He came to New York in 1930 and became a U. S. citizen.
In the mid-thirties he entered the National Academy School of Fine Arts in New York City and studied art under the guidance of some of the most distinguished American artists such as Sidney Waugh, Paul Manship, Walker Hancock, Charles Hinton and Ivan Olinsky. Sculptor Ivan Mestrovic, whom he had the privilege of knowing, was also a great source of inspiration to Mr. Buzan.
For several years he engaged in free-lance art work while living in New York City and was successful in selling some of his designs for covers to such publications as Collier's and Life magazines.
During World War II, due to his knowledge and background in languages and politics, he was appointed translator at the Office of Censorship in New York City.
In 1945 he moved to California and was employed in the Art Department of David O. Selznick (RKO Pathe Studios). Later he moved to Laguna Beach, an art colony, and has remained here to this date.
He designed and sculpted for several ceramic manufacturers in this area. Eventually he began manufacturing ceramics in his own studio-workshop employing a number of people. He continued this venture for 14 years. After closing the ceramic plant he designed for several local concerns mainly in the field of commercial exhibits. For the past two years he has devoted himself exclusively to the design and sculpturing of medals.
For the past 24 years he has been an exhibiting member of the Laguna Beach Festival of Arts. This annual art show draws in excess of 100,000 people during the months of July and August.
Among his major commissions is a ceramic mural in the lobby of the South Coast Community Hospital of Laguna Beach, a ceramic mural for the Laguna Federal Savings and Loan offices, plus a number of murals in other public buildings and private homes in Southern California. He also has numerous paintings in private collections. He has designed and done the models for the University of Missouri - Centennial Medal and Scottish Rite (Southern Jurisdiction) Supreme Council Medal.
At the present time he is at work on another medal and writing a book on the techniques of sculpting original designs for medallic art. The book is in the rough stages at the present time and will be published for world-wide distribution by the Walter T. Forster publishing firm.
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![SOM#080, Boris Buzan, Moon Landing, 1969
[b]From the collection of John Birks[/b]
[i]Number issued: 1061 Bronze[/i]
[b]FROM THE ARTIST[/b]
The theme of this medal is the monumental creative achievement of mankind in the field of technology.
[i]Obverse:[/i] The intaglio portion simulates the television tube through which most of the world actually witnessed the momentous event.
The five larger figures in front of the space control panel symbolize the many unsung "groundlings": thousands of space technologists, engineers, mathematicians and technicians who made this great event possible.
I chose the high relief "V" symbol to represent success in this most daring venture into the unknown and the many figures on its sides represent the public's approval and exultation in the space project.
[i]Reverse:[/i] While self-explanatory, represents "the moment of truth" -- man's very first step on another celestial body other than his natural habitat, the Earth.
Mankind, in its everlasting search for knowledge will ever explore the unknown in whatever field of endeavor. Unlimited space, its vastness, presents to mankind its greatest challenge. What it portends for the future very few of us earthlings can ever begin to imagine much less foretell.
[b]ABOUT THE ARTIST[/b]
Boris Buzan was born in 1915 in the well known resort city of Opatija, Yugoslavia, located on the northeastern shores of the Adriatic sea. Between the two world wars this peninsula was occupied by what was then Mussolini's Italy. This oppressive dictatorship was the primary motivation to immigrate to the United States. He came to New York in 1930 and became a U. S. citizen.
In the mid-thirties he entered the National Academy School of Fine Arts in New York City and studied art under the guidance of some of the most distinguished American artists such as Sidney Waugh, Paul Manship, Walker Hancock, Charles Hinton and Ivan Olinsky. Sculptor Ivan Mestrovic, whom he had the privilege of knowing, was also a great source of inspiration to Mr. Buzan.
For several years he engaged in free-lance art work while living in New York City and was successful in selling some of his designs for covers to such publications as Collier's and Life magazines.
During World War II, due to his knowledge and background in languages and politics, he was appointed translator at the Office of Censorship in New York City.
In 1945 he moved to California and was employed in the Art Department of David O. Selznick (RKO Pathe Studios). Later he moved to Laguna Beach, an art colony, and has remained here to this date.
He designed and sculpted for several ceramic manufacturers in this area. Eventually he began manufacturing ceramics in his own studio-workshop employing a number of people. He continued this venture for 14 years. After closing the ceramic plant he designed for several local concerns mainly in the field of commercial exhibits. For the past two years he has devoted himself exclusively to the design and sculpturing of medals.
For the past 24 years he has been an exhibiting member of the Laguna Beach Festival of Arts. This annual art show draws in excess of 100,000 people during the months of July and August.
Among his major commissions is a ceramic mural in the lobby of the South Coast Community Hospital of Laguna Beach, a ceramic mural for the Laguna Federal Savings and Loan offices, plus a number of murals in other public buildings and private homes in Southern California. He also has numerous paintings in private collections. He has designed and done the models for the University of Missouri - Centennial Medal and Scottish Rite (Southern Jurisdiction) Supreme Council Medal.
At the present time he is at work on another medal and writing a book on the techniques of sculpting original designs for medallic art. The book is in the rough stages at the present time and will be published for world-wide distribution by the Walter T. Forster publishing firm.
Keywords: sold](albums/userpics/10001/SOM%23080-combo.jpg "SOM#080, Boris Buzan, Moon Landing, 1969
[b]From the collection of John Birks[/b]
[i]Number issued: 1061 Bronze[/i]
[b]FROM THE ARTIST[/b]
The theme of this medal is the monumental creative achievement of mankind in the field of technology.
[i]Obverse:[/i] The intaglio portion simulates the television tube through which most of the world actually witnessed the momentous event.
The five larger figures in front of the space control panel symbolize the many unsung \"groundlings\": thousands of space technologists, engineers, mathematicians and technicians who made this great event possible.
I chose the high relief \"V\" symbol to represent success in this most daring venture into the unknown and the many figures on its sides represent the public's approval and exultation in the space project.
[i]Reverse:[/i] While self-explanatory, represents \"the moment of truth\" -- man's very first step on another celestial body other than his natural habitat, the Earth.
Mankind, in its everlasting search for knowledge will ever explore the unknown in whatever field of endeavor. Unlimited space, its vastness, presents to mankind its greatest challenge. What it portends for the future very few of us earthlings can ever begin to imagine much less foretell.
[b]ABOUT THE ARTIST[/b]
Boris Buzan was born in 1915 in the well known resort city of Opatija, Yugoslavia, located on the northeastern shores of the Adriatic sea. Between the two world wars this peninsula was occupied by what was then Mussolini's Italy. This oppressive dictatorship was the primary motivation to immigrate to the United States. He came to New York in 1930 and became a U. S. citizen.
In the mid-thirties he entered the National Academy School of Fine Arts in New York City and studied art under the guidance of some of the most distinguished American artists such as Sidney Waugh, Paul Manship, Walker Hancock, Charles Hinton and Ivan Olinsky. Sculptor Ivan Mestrovic, whom he had the privilege of knowing, was also a great source of inspiration to Mr. Buzan.
For several years he engaged in free-lance art work while living in New York City and was successful in selling some of his designs for covers to such publications as Collier's and Life magazines.
During World War II, due to his knowledge and background in languages and politics, he was appointed translator at the Office of Censorship in New York City.
In 1945 he moved to California and was employed in the Art Department of David O. Selznick (RKO Pathe Studios). Later he moved to Laguna Beach, an art colony, and has remained here to this date.
He designed and sculpted for several ceramic manufacturers in this area. Eventually he began manufacturing ceramics in his own studio-workshop employing a number of people. He continued this venture for 14 years. After closing the ceramic plant he designed for several local concerns mainly in the field of commercial exhibits. For the past two years he has devoted himself exclusively to the design and sculpturing of medals.
For the past 24 years he has been an exhibiting member of the Laguna Beach Festival of Arts. This annual art show draws in excess of 100,000 people during the months of July and August.
Among his major commissions is a ceramic mural in the lobby of the South Coast Community Hospital of Laguna Beach, a ceramic mural for the Laguna Federal Savings and Loan offices, plus a number of murals in other public buildings and private homes in Southern California. He also has numerous paintings in private collections. He has designed and done the models for the University of Missouri - Centennial Medal and Scottish Rite (Southern Jurisdiction) Supreme Council Medal.
At the present time he is at work on another medal and writing a book on the techniques of sculpting original designs for medallic art. The book is in the rough stages at the present time and will be published for world-wide distribution by the Walter T. Forster publishing firm.
Keywords: sold")
