Glass engravers have been extremely knowledgeable craftsmen and artists for countless years. The 1700s were especially significant for their success and appeal.
As an example, this lead glass cup demonstrates how etching integrated style trends like Chinese-style motifs into European glass. It also illustrates how the ability of an excellent engraver can generate imaginary 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 mythical and allegorical scenes etched on glass were still in fashion. The cup envisioned below was engraved by Dominik Biemann, who specialized in small pictures on glass and is considered one of the most vital engravers of his time.
He was the boy of a glassworker in Nové Svet and the bro of Franz Pohl, an additional leading engraver of the period. His work is qualified by a play of light and darkness, which is especially apparent on this cup presenting the etching of stags in forest. He was likewise recognized for his work on porcelain. He died in 1857. The MAK Museum in Vienna is home to a huge collection of his jobs.
August Bohm
A significant Nurnberg engraver of the late 17th century, Bohm worked with special and a feeling of calligraphy. He engraved minute landscapes and inscriptions with bold formal scrollwork. His job is a forerunner to the neo-renaissance style that was to dominate Bohemian and various other European glass in the 1880s and past.
Bohm welcomed a sculptural sensation in both alleviation and intaglio inscription. He displayed his mastery of the latter in the finely crosshatched chiaroscuro (trailing) impacts 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 lot of money he looked for. He passed away in scantiness. His spouse was Theresia Dittrich.
Carl Gunther
Despite his determined work, Carl Gunther was an easygoing man that enjoyed spending quality time with friends and family. He liked his everyday ritual of going to the Collinsville Senior Center to enjoy lunch with his pals, and these minutes of sociability gave him with a much required break from his demanding profession.
The 1830s saw something quite extraordinary take place to glass-- it ended up being vivid. Engravers from Meistersdorf and Steinschonau created highly coloured glass, a preference called Biedermeier, to satisfy the demand of Europe's country-house classes.
The Flammarion inscription has come to be a sign of this new preference and has appeared in publications dedicated to scientific research along with those checking out mysticism. It is additionally located in various gallery collections. It is believed to be the only surviving instance of its kind.
Maurice Marinot
Maurice Marinot (1882-1960) started his occupation as a fauvist painter, but came to be fascinated with glassmaking in 1911 when seeing the Viard siblings' glassworks in Bar-sur-Seine. They offered him a bench and taught him enamelling and glass blowing, which he mastered with supreme ability. He developed his very own strategies, using gold streaks and making use of the bubbles and various other natural flaws of the product.
His approach was to deal with the glass as a creature and he was among the first 20th century glassworkers to make use of weight, mass, and the visual impact of natural problems as aesthetic aspects in his jobs. The exhibit shows the significant influence that Marinot carried modern glass production. However, the Allied bombing of Troyes in 1944 damaged his studio and hundreds of drawings and paints.
Edward Michel
In the early 1800s Joshua introduced a design that simulated the Venetian glass of the period. He utilized a technique called diamond factor engraving, which includes damaging lines into the surface area of the glass with a tough metal carry out.
He also established the initial threading device. This development modern glass engraving examples permitted the application of long, spirally wound routes of color (called gilding) on the text of the glass, an important attribute of the glass in the Venetian style.
The late 19th century brought brand-new design ideas to the table. Frederick Kny and William Fritsche both operated at Thomas Webb & Sons, a British business that specialized in high quality crystal glass and speciality coloured glass. Their work mirrored a preference for timeless or mythological subjects.
