Glass engravers have been highly skilled artisans and artists for hundreds of years. The 1700s were especially notable for their success and popularity.
As an example, this lead glass goblet demonstrates how etching incorporated style fads like Chinese-style themes right into European glass. It likewise illustrates exactly how the skill of a great engraver can generate illusory deepness and visual appearance.
Dominik Biemann
In the first quarter of the 19th century the standard refinery region of north Bohemia was the only location where ignorant mythological and allegorical scenes inscribed on glass were still in fashion. The cup pictured right here was engraved by Dominik Biemann, who focused on small portraits on glass and is considered as one of one of the most important engravers of his time.
He was the child of a glassworker in Nové Svet and the bro of Franz Pohl, another leading engraver of the duration. His job is characterised by a play of light and darkness, which is specifically apparent on this cup presenting the etching of stags in woodland. He was likewise recognized for his deal with porcelain. He passed away in 1857. The MAK Museum in Vienna is home to a big collection of his jobs.
August Bohm
A notable Nurnberg engraver of the late 17th century, Bohm dealt with special and a sense of calligraphy. He etched minute landscapes and engravings with vibrant formal scrollwork. His work is a forerunner to the neo-renaissance design that was to dominate Bohemian and other European glass in the 1880s and past.
Bohm welcomed a sculptural feeling in both relief and intaglio engraving. He showed his proficiency of the latter in the finely crosshatched chiaroscuro (stalking) results in this footed goblet and cut cover, which portrays Alexander the Great at the Fight of Granicus River (334 BC) after a paint by Charles Le Brun. Despite his considerable skill, he never ever attained the popularity and fortune he sought. He died in scantiness. His better half was Theresia Dittrich.
Carl Gunther
Despite his tireless work, Carl Gunther was an easygoing guy that appreciated spending time with family and friends. He liked his day-to-day routine of seeing the Collinsville Senior Center to delight in lunch with his friends, and these minutes of friendship offered him with a much needed reprieve from his requiring job.
The 1830s saw something rather amazing occur to glass-- it became colorful. Engravers from Meistersdorf and Steinschonau developed highly coloured glass, a taste known as Biedermeier, to meet the need 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 to science along with those discovering mysticism. It is also located in many museum collections. It is thought to be the only enduring 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 visiting the Viard bros' glassworks in Bar-sur-Seine. They provided him a bench and instructed him enamelling and glass blowing, which he mastered with supreme ability. He established his own strategies, utilizing gold flecks and manipulating the bubbles and other all-natural problems of the material.
His strategy was to deal with the glass best engraved wine glasses as a creature and he was among the first 20th century glassworkers to make use of weight, mass, and the visual effect of all-natural problems as aesthetic components 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 hundreds of drawings and paints.
Edward Michel
In the early 1800s Joshua presented a style that resembled the Venetian glass of the period. He made use of a method called diamond factor engraving, which includes scratching lines right into the surface of the glass with a difficult metal carry out.
He also established the first threading maker. This invention permitted the application of long, spirally wound tracks of color (called gilding) on the main body 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 operated at Thomas Webb & Sons, a British company that focused on high quality crystal glass and speciality coloured glass. Their work mirrored a preference for timeless or mythological subjects.
