Glass engravers have been extremely experienced artisans and musicians for thousands of years. The 1700s were especially remarkable for their achievements and appeal.
As an example, this lead glass cup shows how etching incorporated design trends like Chinese-style themes right into European glass. It also highlights how the skill of a great engraver can generate imaginary depth and aesthetic texture.
Dominik Biemann
In the very first quarter of the 19th century the standard refinery area of north Bohemia was the only place where naive mythological and allegorical scenes inscribed on glass were still in vogue. The goblet pictured right here was engraved by Dominik Biemann, that concentrated on small portraits on glass and is considered among one of the most vital engravers of his time.
He was the son of a glassworker in Nové Svet and the brother of Franz Pohl, one more leading engraver of the duration. His job is qualified by a play of light and darkness, which is especially evident on this goblet showing the etching of stags in forest. He was likewise recognized for his work with porcelain. He passed away in 1857. The MAK Museum in Vienna is home to a large collection of his works.
August Bohm
A noteworthy Nurnberg engraver of the late 17th century, Bohm dealt with delicacy and a feeling of calligraphy. He etched minute landscapes and engravings with vibrant official scrollwork. His work is a forerunner to the neo-renaissance style that was to dominate Bohemian and other European glass in the 1880s and beyond.
Bohm embraced a sculptural feeling in both relief and intaglio engraving. He exhibited his mastery of the latter in the finely crosshatched chiaroscuro (watching) 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. In spite of his considerable skill, he never achieved the fame and fortune he sought. He passed away in scantiness. His better half was Theresia Dittrich.
Carl Gunther
Regardless of his vigorous job, Carl Gunther was a relaxed male that took pleasure in hanging out with family and friends. He liked his daily ritual of visiting the Collinsville Senior Facility to appreciate lunch with his pals, and these minutes of friendship offered him with a much needed respite from his requiring job.
The 1830s saw something fairly amazing occur to glass-- it ended up being vivid. Engravers from Meistersdorf and Steinschonau created richly coloured glass, a taste called Biedermeier, to fulfill the demand of Europe's country-house courses.
The Flammarion engraving has become an icon of this brand-new taste and has shown up in publications dedicated memorable designs on glass to science as well as those discovering necromancy. It is also found in countless gallery collections. It is thought to be the only surviving instance of its kind.
Maurice Marinot
Maurice Marinot (1882-1960) began his profession as a fauvist painter, but came to be interested with glassmaking in 1911 when going to the Viard brothers' glassworks in Bar-sur-Seine. They offered him a bench and showed him enamelling and glass blowing, which he mastered with supreme ability. He established his own strategies, utilizing gold flecks and manipulating the bubbles and various other natural imperfections of the product.
His method was to deal with the glass as a creature and he was one of the initial 20th century glassworkers to utilize weight, mass, and the visual result of natural imperfections as visual elements in his jobs. The exhibition shows the considerable impact that Marinot carried modern glass manufacturing. Sadly, the Allied bombing of Troyes in 1944 ruined his studio and countless illustrations and paintings.
Edward Michel
In the very early 1800s Joshua introduced a design that mimicked the Venetian glass of the duration. He used a strategy called diamond factor engraving, which entails scraping lines right into the surface of the glass with a tough metal apply.
He likewise created the very first threading equipment. This creation allowed the application of long, spirally wound routes of color (called gilding) on the text of the glass, a vital attribute of the glass in the Venetian style.
The late 19th century brought brand-new design concepts 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 job showed a choice for classical or mythical topics.
