Glass engravers have been highly knowledgeable craftsmen and musicians for thousands of years. The 1700s were specifically noteworthy for their success and popularity.
As an example, this lead glass cup demonstrates how etching integrated style trends like Chinese-style motifs into European glass. It also highlights just how the ability of an excellent engraver can create illusory depth and visual texture.
Dominik Biemann
In the first quarter of the 19th century the traditional refinery region of north Bohemia was the only area where ignorant mythological and allegorical scenes engraved on glass were still in fashion. The cup imagined here was etched by Dominik Biemann, that concentrated on little portraits on glass and is regarded 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 job is characterised by a play of light and shadows, which is specifically noticeable on this cup displaying the etching of stags in timberland. He was additionally understood 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 noteworthy Nurnberg engraver of the late 17th century, Bohm worked with special and a sense of calligraphy. He engraved minute landscapes and engravings with strong formal scrollwork. His job is a precursor to the neo-renaissance design that was to control Bohemian and other European glass in the 1880s and beyond.
Bohm embraced a sculptural sensation in both relief and intaglio inscription. He displayed his mastery of the last in the carefully crosshatched chiaroscuro (watching) 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. In spite of his considerable skill, he never attained the popularity and ton of money he looked for. He passed away in penury. His partner was Theresia Dittrich.
Carl Gunther
Regardless of his tireless work, Carl Gunther was an easygoing man who enjoyed hanging out with family and aesthetic glass styles friends. He loved his everyday routine of seeing the Collinsville Senior Center to delight in lunch with his friends, and these minutes of sociability gave him with a much required respite from his demanding profession.
The 1830s saw something fairly phenomenal take place to glass-- it became colorful. Engravers from Meistersdorf and Steinschonau created richly coloured glass, a preference known as Biedermeier, to fulfill the demand of Europe's country-house classes.
The Flammarion engraving has actually ended up being a symbol of this brand-new taste and has shown up in books committed to science in addition to those exploring mysticism. It is additionally found in many gallery collections. It is thought to be the only making it through instance of its kind.
Maurice Marinot
Maurice Marinot (1882-1960) started his occupation as a fauvist painter, yet became interested with glassmaking in 1911 when seeing the Viard brothers' glassworks in Bar-sur-Seine. They provided him a bench and taught him enamelling and glass blowing, which he mastered with supreme ability. He created his own methods, utilizing gold streaks and exploiting the bubbles and other all-natural imperfections of the material.
His technique was to deal with the glass as a living thing and he was among the initial 20th century glassworkers to make use of weight, mass, and the visual impact of natural defects as visual components in his works. The event shows the significant impact that Marinot had on modern-day glass manufacturing. Unfortunately, the Allied bombing of Troyes in 1944 ruined his studio and hundreds of illustrations and paints.
Edward Michel
In the early 1800s Joshua introduced a style that imitated the Venetian glass of the duration. He made use of a strategy called ruby point engraving, which includes damaging lines right into the surface of the glass with a difficult metal execute.
He additionally created the first threading device. This development permitted the application of long, spirally wound trails of color (called gilding) on the main body of the glass, a crucial feature 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 company that focused on premium quality crystal glass and speciality coloured glass. Their job showed a choice for classical or mythological subjects.
