Glass engravers have been highly knowledgeable artisans and artists for hundreds of years. The 1700s were especially notable for their success and popularity.
For example, this lead glass cup demonstrates how engraving integrated style fads like Chinese-style motifs into European glass. It additionally illustrates how the skill of an excellent engraver can generate illusory depth and aesthetic appearance.
Dominik Biemann
In the first quarter of the 19th century the conventional refinery area of north Bohemia was the only area where naive mythological and allegorical scenes etched on glass were still in vogue. The cup pictured here was etched by Dominik Biemann, that concentrated on tiny portraits on glass and is regarded as one of one of the most vital engravers of his time.
He was the boy of a glassworker in Nové Svet and the brother of Franz Pohl, another leading engraver of the period. His job is qualified by a play of light and darkness, which is specifically evident on this goblet showing the etching of stags in forest. He was likewise recognized for his work with porcelain. He passed away in 1857. The MAK Museum in Vienna is home to a large collection of his works.
August Bohm
A significant Nurnberg engraver of the late 17th century, Bohm dealt with special and a feeling of calligraphy. He inscribed minute landscapes and engravings with vibrant official scrollwork. His work is a precursor to the neo-renaissance style that was to dominate Bohemian and other European glass in the 1880s and beyond.
Bohm embraced a sculptural feeling in both relief and intaglio engraving. He exhibited his mastery of the latter in the finely crosshatched chiaroscuro (watching) effects in this footed goblet and cut cover, which portrays Alexander the Great at the Battle of Granicus River (334 BC) after a painting by Charles Le Brun. Despite his considerable skill, he never achieved the fame and fortune he sought. He passed away in scantiness. His better half was Theresia Dittrich.
Carl Gunther
Regardless of his vigorous job, Carl Gunther sympathy engraved candle holder was a relaxed male that took pleasure in hanging out with friends and family. He liked his everyday ritual of going to the Collinsville Senior Center to appreciate lunch with his pals, and these minutes of sociability provided him with a much required reprieve from his requiring occupation.
The 1830s saw something rather remarkable happen to glass-- it became colorful. Engravers from Meistersdorf and Steinschonau developed highly coloured glass, a taste known as Biedermeier, to meet the need of Europe's country-house courses.
The Flammarion inscription has become an icon of this brand-new taste and has shown up in publications dedicated to science as well as those discovering necromancy. It is likewise found in numerous gallery collections. It is thought to be the only surviving instance of its kind.
Maurice Marinot
Maurice Marinot (1882-1960) began his profession as a fauvist painter, but came to be interested with glassmaking in 1911 when checking out the Viard brothers' glassworks in Bar-sur-Seine. They gave him a bench and educated him enamelling and glass blowing, which he grasped with supreme skill. He created his very own techniques, making use of gold streaks and exploiting the bubbles and various other all-natural defects of the product.
His technique was to treat the glass as a living thing and he was among the first 20th century glassworkers to make use of weight, mass, and the aesthetic effect of all-natural problems as aesthetic components in his jobs. The exhibition shows the considerable impact that Marinot carried modern glass manufacturing. Regrettably, the Allied bombing of Troyes in 1944 damaged his studio and hundreds of drawings and paints.
Edward Michel
In the early 1800s Joshua presented a style that mimicked the Venetian glass of the duration. He used a strategy called diamond point inscription, which includes damaging lines into the surface area of the glass with a difficult steel execute.
He also established the first threading maker. This invention enabled the application of long, spirally wound tracks of color (called gilding) on the text of the glass, an essential function of the glass in the Venetian style.
The late 19th century brought new layout ideas to the table. Frederick Kny and William Fritsche both operated at Thomas Webb & Sons, a British company that concentrated on top quality crystal glass and speciality coloured glass. Their job reflected a choice for classical or mythical subjects.
