Glass engravers have been extremely experienced artisans and musicians for thousands of years. The 1700s were especially remarkable for their achievements and popularity.
For instance, this lead glass cup demonstrates how engraving integrated layout trends like Chinese-style motifs right into European glass. It additionally illustrates exactly how the ability of an excellent engraver can produce illusory depth and aesthetic appearance.
Dominik Biemann
In the first quarter of the 19th century the conventional refinery area of north Bohemia was the only area where ignorant mythological and allegorical scenes etched on glass were still in vogue. The cup envisioned here was etched by Dominik Biemann, who concentrated on tiny pictures on glass and is regarded as one of the most crucial engravers of his time.
He was the boy of a glassworker in Nové Svet and the brother of Franz Pohl, another leading engraver of the period. His work is characterised by a play of light and darkness, which is specifically obvious on this cup presenting the etching of stags in timberland. He was also known for his deal with porcelain. He died in 1857. The MAK Gallery in Vienna is home to a big collection of his jobs.
August Bohm
A remarkable Nurnberg engraver of the late 17th century, Bohm collaborated with special and a sense of calligraphy. He engraved minute landscapes and inscriptions with bold formal scrollwork. His work is a precursor 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 significant skill, he never achieved the fame and fortune he sought. He died in scantiness. His wife was Theresia Dittrich.
Carl Gunther
Despite his vigorous job, Carl Gunther was a relaxed man who delighted in spending quality time with friends and family. He enjoyed his everyday routine of going to the Collinsville Senior citizen Center to delight in lunch with his buddies, and these moments of camaraderie gave him with a much required break from his demanding profession.
The 1830s saw something quite remarkable happen to glass-- it became vivid. Engravers from Meistersdorf and Steinschonau developed highly coloured glass, a taste known as Biedermeier, to fulfill the need of Europe's country-house courses.
The Flammarion engraving has come to be an icon of this new taste and has actually shown up in publications devoted to science along with those checking out 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 very own techniques, using gold streaks and making use of the bubbles and other all-natural defects of the product.
His technique was to treat the glass as a creature and he was among the first 20th century glassworkers to make use of weight, mass, and the aesthetic effect of all-natural defects as aesthetic aspects in his works. The exhibition shows the considerable impact that Marinot carried contemporary glass manufacturing. Regrettably, the Allied bombing of Troyes in 1944 damaged his studio and hundreds of illustrations and paintings.
Edward Michel
In the very early 1800s Joshua introduced a style that mimicked the Venetian glass of the duration. He used a strategy called diamond factor engraving, which entails scraping lines right into the surface area of the glass with a tough steel apply.
He likewise developed the very first threading machine. This innovation permitted the application of long, spirally injury trails of shade (called gilding) on the main body of the glass, a necessary 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 firm that focused on top quality crystal glass and speciality coloured glass. Their work mirrored a preference for classical engraved glass meaning or mythical subjects.
