Glass engravers have actually been highly proficient artisans and artists for hundreds of years. The 1700s were especially significant for their success and appeal.
For instance, this lead glass goblet shows how etching integrated design trends like Chinese-style motifs right into European glass. It additionally highlights just how the ability of a great engraver can create illusory depth and visual appearance.
Dominik Biemann
In the initial quarter of the 19th century the typical refinery area of north Bohemia was the only location where ignorant mythological and allegorical scenes etched on glass were still in fashion. The cup envisioned below was etched by Dominik Biemann, who specialized in small pictures on glass and is considered as among the most essential engravers of his time.
He was the child of a glassworker in Nové Svet and the brother of Franz Pohl, another leading engraver of the duration. His job is qualified by a play of light and shadows, which is especially noticeable on this cup showing the etching of stags in woodland. He was also recognized for his work with porcelain. He died in 1857. The MAK Museum in Vienna is home to a large collection of his jobs.
August Bohm
A notable Nurnberg engraver of the late 17th century, Bohm collaborated with special and a sense of calligraphy. He engraved minute landscapes and engravings with strong official scrollwork. His work is a forerunner to the neo-renaissance design that was to control Bohemian and various other European glass in the 1880s and beyond.
Bohm embraced a sculptural sensation in both relief and intaglio engraving. He exhibited his mastery of the latter in the finely crosshatched chiaroscuro (shadowing) results in this footed goblet and cut cover, which depicts Alexander the Great at the Fight of Granicus River (334 BC) after a paint by Charles Le Brun. Despite his substantial ability, he never attained the fame and fortune he looked for. He passed away in penury. His wife was Theresia Dittrich.
Carl Gunther
Regardless of his steadfast work, Carl Gunther was a relaxed guy that enjoyed hanging out with family and friends. He loved his everyday ritual of seeing the Collinsville Senior Facility to take pleasure in lunch with his buddies, and these moments of camaraderie supplied him with a much needed reprieve from his demanding occupation.
The 1830s saw something fairly amazing happen to glass-- it came to be colorful. Engravers from Meistersdorf and Steinschonau developed richly coloured glass, a preference known as Biedermeier, to satisfy the need of Europe's country-house classes.
The Flammarion engraving has come to be a sign of this new preference and has actually appeared in publications devoted to scientific research as well as those checking out necromancy. It is also found in numerous museum collections. It is thought to be the only surviving instance of its kind.
Maurice Marinot
Maurice Marinot (1882-1960) started his career as a fauvist painter, yet ended up being amazed with glassmaking in 1911 when going to the Viard brothers' engraved photo frame gift glassworks in Bar-sur-Seine. They provided him a bench and taught 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 natural imperfections of the material.
His method was to deal with the glass as a living thing and he was among the first 20th century glassworkers to utilize weight, mass, and the aesthetic impact of all-natural imperfections as aesthetic components in his works. The exhibition shows the considerable influence that Marinot had on modern glass manufacturing. Sadly, the Allied battle of Troyes in 1944 destroyed his studio and hundreds of drawings and paints.
Edward Michel
In the early 1800s Joshua introduced a design that mimicked the Venetian glass of the duration. He made use of a technique called ruby point engraving, which entails scratching lines into the surface of the glass with a difficult steel apply.
He additionally developed the first threading machine. This innovation enabled the application of long, spirally injury routes of color (called gilding) on the text of the glass, an essential function of the glass in the Venetian design.
The late 19th century brought new layout ideas to the table. Frederick Kny and William Fritsche both worked at Thomas Webb & Sons, a British business that concentrated on premium quality crystal glass and speciality coloured glass. Their work showed a choice for timeless or mythological subjects.
