Glass engravers have been highly knowledgeable artisans and artists for hundreds of years. The 1700s were especially remarkable for their accomplishments and popularity.
As an example, this lead glass cup demonstrates how etching integrated design fads like Chinese-style concepts into European glass. It also illustrates just how the ability of a great engraver can produce imaginary deepness and visual texture.
Dominik Biemann
In the first quarter of the 19th century the typical refinery area of north Bohemia was the only location where naive mythical and allegorical scenes inscribed on glass were still in fashion. The goblet envisioned here was engraved by Dominik Biemann, that specialized in small pictures on glass and is considered one of 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 work is qualified by a play of light and darkness, which is especially evident on this cup showing the etching of stags in woodland. He was additionally understood for his deal with porcelain. He died in 1857. The MAK Gallery in Vienna is home to a large collection of his jobs.
August Bohm
A remarkable Nurnberg engraver of the late 17th century, Bohm dealt with delicacy and a feeling of calligraphy. He etched minute landscapes and inscriptions with vibrant official scrollwork. His work is a forerunner to the neo-renaissance style that was to dominate Bohemian and various other European glass in the 1880s and beyond.
Bohm welcomed a sculptural sensation in both relief and intaglio inscription. He displayed his proficiency of the latter in the finely crosshatched chiaroscuro (shadowing) results in this footed goblet and cut cover, which shows Alexander the Great at the Battle of Granicus River (334 BC) after a painting by Charles Le Brun. Regardless of his significant practical engraved gifts skill, he never ever achieved the popularity and fortune he looked for. He died in scantiness. His other half was Theresia Dittrich.
Carl Gunther
Despite his vigorous work, Carl Gunther was an easygoing male who appreciated hanging out with family and friends. He liked his daily routine of visiting the Collinsville Elder Center to appreciate lunch with his friends, and these minutes of friendship provided him with a much required respite from his requiring career.
The 1830s saw something rather extraordinary take place to glass-- it became vivid. Engravers from Meistersdorf and Steinschonau created richly coloured glass, a preference known as Biedermeier, to satisfy the need of Europe's country-house classes.
The Flammarion inscription has become a sign of this brand-new taste and has actually appeared in publications devoted to scientific research as well as those checking out mysticism. It is additionally found in many museum 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 checking out the Viard brothers' glassworks in Bar-sur-Seine. They offered him a bench and taught him enamelling and glass blowing, which he grasped with supreme ability. He developed his very own strategies, utilizing gold streaks and exploiting the bubbles and other all-natural flaws of the material.
His strategy was to treat the glass as a creature and he was just one of the first 20th century glassworkers to make use of weight, mass, and the visual impact of all-natural defects as visual elements in his jobs. The event demonstrates the considerable impact that Marinot had on contemporary glass manufacturing. Unfortunately, the Allied battle of Troyes in 1944 damaged his studio and countless illustrations and paints.
Edward Michel
In the early 1800s Joshua introduced a design that mimicked the Venetian glass of the period. He utilized a strategy called diamond point engraving, which entails damaging lines into the surface of the glass with a tough metal execute.
He additionally created the first threading device. This creation permitted the application of long, spirally wound tracks of shade (called gilding) on the text of the glass, an essential feature of the glass in the Venetian style.
The late 19th century brought brand-new layout concepts to the table. Frederick Kny and William Fritsche both worked at Thomas Webb & Sons, a British company that focused on excellent quality crystal glass and speciality coloured glass. Their work reflected a preference for classic or mythical topics.
