Glass engravers have been extremely competent artisans and artists for hundreds of years. The 1700s were specifically noteworthy for their success and popularity.
As an example, this lead glass cup shows how engraving incorporated design fads like Chinese-style concepts into European glass. It also illustrates just how the ability of a great engraver can produce illusory deepness and aesthetic structure.
Dominik Biemann
In the initial quarter of the 19th century the typical refinery area of north Bohemia was the only location where naive mythical and allegorical scenes inscribed on glass were still in vogue. The goblet pictured below was engraved by Dominik Biemann, who specialized in tiny pictures on glass and is considered one of one of the most crucial engravers of his time.
He was the kid of a glassworker in Nové Svet and the brother of Franz Pohl, another leading engraver of the duration. His job is characterised by a play of light and darkness, which is particularly apparent on this goblet presenting the etching of stags in timberland. He was likewise known for his work with porcelain. He passed away in 1857. The MAK Museum in Vienna is home to a large collection of his jobs.
August Bohm
A remarkable Nurnberg engraver of the late 17th century, Bohm dealt with delicacy and a sense of calligraphy. He inscribed minute landscapes and engravings with bold formal scrollwork. His job is a precursor to the neo-renaissance style that was to control Bohemian and other European glass in the 1880s and beyond.
Bohm embraced a sculptural feeling in both alleviation and intaglio inscription. He displayed his mastery of the last in the carefully crosshatched chiaroscuro (trailing) effects in this footed cup and cut cover, which portrays Alexander the Great at the Battle of Granicus River (334 BC) after a paint by Charles Le Brun. Despite his considerable ability, he never attained the fame and fortune he looked for. He died in scantiness. His partner was Theresia Dittrich.
Carl Gunther
Despite his vigorous job, Carl Gunther was an easygoing male that delighted in spending time with friends and family. He loved his day-to-day ritual of seeing the Collinsville Senior citizen Facility to delight in lunch with his pals, and these moments of sociability offered him with a much needed break from his demanding occupation.
The 1830s saw something quite extraordinary occur to glass-- it became vibrant. Engravers from Meistersdorf and Steinschonau created highly coloured glass, a taste referred to as Biedermeier, to meet the need of Europe's country-house courses.
The Flammarion engraving has actually ended up being an icon of this new preference and has shown up in publications dedicated to scientific research in addition to those exploring necromancy. It is also located in various gallery collections. It is thought to be the only enduring example of its kind.
Maurice Marinot
Maurice Marinot (1882-1960) began sympathy engraved candle holder his profession as a fauvist painter, yet ended up being attracted with glassmaking in 1911 when going to the Viard bros' glassworks in Bar-sur-Seine. They provided him a bench and taught him enamelling and glass blowing, which he grasped with supreme ability. He developed his very own methods, making use of gold flecks and making use of the bubbles and various other natural problems of the material.
His method was to deal with the glass as a living thing and he was among the initial 20th century glassworkers to use weight, mass, and the aesthetic result of natural problems as visual elements in his jobs. The exhibition demonstrates the considerable influence that Marinot carried modern glass production. Regrettably, the Allied battle of Troyes in 1944 destroyed his workshop and hundreds of drawings and paintings.
Edward Michel
In the early 1800s Joshua presented a style that simulated the Venetian glass of the period. He utilized a strategy called diamond factor inscription, which includes damaging lines into the surface area of the glass with a tough metal implement.
He likewise established the first threading device. This creation permitted the application of long, spirally wound tracks of shade (called gilding) on the text of the glass, an essential function of the glass in the Venetian design.
The late 19th century brought brand-new layout ideas to the table. Frederick Kny and William Fritsche both worked at Thomas Webb & Sons, a British business that concentrated on top quality crystal glass and speciality coloured glass. Their work showed a choice for timeless or mythological subjects.
