Glass engravers have been very skilled artisans and artists for hundreds of years. The 1700s were especially notable for their success and popularity.
As an example, this lead glass cup demonstrates how engraving incorporated style patterns like Chinese-style motifs into European glass. It also highlights just how the ability of a great engraver can generate illusory deepness and aesthetic appearance.
Dominik Biemann
In the first quarter of the 19th century the standard refinery area of north Bohemia was the only area where ignorant mythological and allegorical scenes inscribed on glass were still in vogue. The cup visualized below was engraved by Dominik Biemann, that focused on little pictures on glass and is considered one of one of the most crucial engravers of his time.
He was the son of a glassworker in Nové Svet and the bro of Franz Pohl, an additional leading engraver of the period. His work is qualified by a play of light and darkness, which is particularly noticeable on this goblet showing the etching of stags in forest. He was additionally understood for his work on porcelain. He passed away in 1857. The MAK Gallery in Vienna is home to a large collection of his works.
August Bohm
A remarkable Nurnberg engraver of the late 17th century, Bohm collaborated with special and a feeling of calligraphy. He etched minute landscapes and inscriptions with bold official scrollwork. His job is a forerunner to the neo-renaissance design that was to dominate Bohemian and 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 last in the finely crosshatched chiaroscuro (watching) effects in this footed cup and cut cover, which illustrates Alexander the Great at the Fight of Granicus River (334 BC) after a painting by Charles Le Brun. Despite his significant skill, he never achieved the popularity and lot of money he looked for. He died in penury. His other half was Theresia Dittrich.
Carl Gunther
Regardless of his tireless job, Carl Gunther was an easygoing man who took pleasure in spending quality time with friends and family. He enjoyed his day-to-day routine of visiting the Collinsville Senior Center to enjoy lunch with his buddies, and these moments of camaraderie provided him with a much needed respite from his demanding career.
The 1830s saw something quite extraordinary happen to glass-- it became colorful. Engravers from Meistersdorf and Steinschonau developed highly coloured glass, a preference called Biedermeier, to fulfill the need of Europe's country-house courses.
The Flammarion engraving has become a symbol of this new preference and has actually shown up in publications dedicated to science as well as those exploring necromancy. It is additionally located in many gallery collections. It is thought to be the only surviving example of its kind.
Maurice Marinot
Maurice Marinot (1882-1960) began his job as a fauvist painter, however ended up being amazed with glassmaking in 1911 when going to the Viard brothers' glassworks in Bar-sur-Seine. They gave him a bench and educated him minimalist glass art enamelling and glass blowing, which he understood with supreme ability. He established his own strategies, utilizing gold flecks and exploiting the bubbles and various other all-natural problems of the material.
His approach was to deal with the glass as a creature and he was among the first 20th century glassworkers to use weight, mass, and the aesthetic impact of natural imperfections as visual aspects in his works. The event shows the significant influence that Marinot carried contemporary glass production. However, the Allied bombing of Troyes in 1944 destroyed his workshop and countless drawings and paints.
Edward Michel
In the very early 1800s Joshua introduced a design that imitated the Venetian glass of the period. He made use of a method called diamond factor engraving, which entails scraping lines into the surface area of the glass with a difficult metal apply.
He likewise developed the initial threading maker. This innovation permitted the application of long, spirally injury trails of shade (called gilding) on the main body of the glass, an essential attribute of the glass in the Venetian style.
The late 19th century brought brand-new style concepts 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 job showed a choice for classic or mythical subjects.
