Glass engravers have been very knowledgeable craftsmen and artists for thousands of years. The 1700s were especially noteworthy for their success and popularity.
For example, this lead glass cup demonstrates how etching integrated design trends like Chinese-style concepts right into European glass. It likewise shows how the skill of an excellent engraver can generate illusory depth and aesthetic appearance.
Dominik Biemann
In the very first quarter of the 19th century the standard refinery region of north Bohemia was the only place where ignorant mythical and allegorical scenes etched on glass were still in fashion. The cup visualized right here was etched by Dominik Biemann, that focused on little portraits on glass and is considered as among one of the most crucial engravers of his time.
He was the child of a glassworker in Nové Svet and the brother of Franz Pohl, an additional leading engraver of the duration. His work is qualified by a play of light and darkness, which is particularly evident on this cup showing the etching of stags in woodland. He was also recognized for his deal with porcelain. He died in 1857. The MAK Gallery in Vienna is home to a big collection of his works.
August Bohm
A notable Nurnberg engraver of the late 17th century, Bohm collaborated with special and a sense of calligraphy. He inscribed minute landscapes and engravings with bold official scrollwork. His work is a precursor to the neo-renaissance design that was to dominate Bohemian and other European glass in the 1880s and past.
Bohm embraced a sculptural sensation in both alleviation and intaglio engraving. He showed his mastery of the last in the carefully crosshatched chiaroscuro (watching) results in this footed cup and cut cover, which portrays Alexander the Great at the Fight of Granicus River (334 BC) after a painting by Charles Le Brun. Despite his substantial skill, he never ever accomplished the fame and ton of money he sought. He passed away in penury. His better half was Theresia Dittrich.
Carl Gunther
In spite of his tireless job, Carl Gunther was an easygoing male who appreciated hanging out with family and friends. He enjoyed his daily routine of going to the Collinsville Elder Center to enjoy lunch with his friends, and these moments of friendship provided him with a much required respite from his requiring career.
The 1830s saw something fairly remarkable take place to glass-- it became vivid. Engravers from Meistersdorf and Steinschonau produced highly coloured glass, a taste called Biedermeier, to meet the need of Europe's country-house classes.
The Flammarion inscription has actually ended up being an icon of this new preference and has shown up in books dedicated to science in addition to those exploring mysticism. It is additionally discovered in countless museum collections. It is believed to be the only surviving instance of its kind.
Maurice Marinot
Maurice Marinot (1882-1960) began his profession as a fauvist painter, yet became interested with glassmaking in 1911 when visiting the Viard siblings' glassworks in Bar-sur-Seine. They gave him a bench and instructed him enamelling and glass blowing, which he understood with supreme skill. He created his own strategies, using gold flecks and manipulating the bubbles and other all-natural imperfections of the material.
His technique engraved glass as conversation piece was to treat the glass as a living thing and he was just one of the initial 20th century glassworkers to use weight, mass, and the visual impact of all-natural defects as visual components in his works. The exhibit shows the significant effect that Marinot carried modern-day glass production. Regrettably, the Allied battle of Troyes in 1944 destroyed his workshop and hundreds of drawings and paintings.
Edward Michel
In the very early 1800s Joshua presented a style that imitated the Venetian glass of the duration. He utilized a strategy called ruby point engraving, which entails damaging lines into the surface area of the glass with a hard metal carry out.
He additionally created the first threading maker. This development allowed the application of long, spirally wound tracks of shade (called gilding) on the main body of the glass, a vital attribute of the glass in the Venetian design.
The late 19th century brought new design concepts to the table. Frederick Kny and William Fritsche both operated at Thomas Webb & Sons, a British firm that specialized in top quality crystal glass and speciality coloured glass. Their job mirrored a preference for classical or mythological subjects.
