Glass engravers have actually been highly knowledgeable craftsmen and musicians for hundreds of years. The 1700s were especially remarkable for their achievements and popularity.
For example, this lead glass cup demonstrates how engraving integrated style fads like Chinese-style motifs into European glass. It additionally highlights how the ability of an excellent engraver can generate 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 naive mythological and allegorical scenes etched on glass were still in vogue. The cup pictured here was etched by Dominik Biemann, who 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 apparent on this goblet showing the etching of stags in forest. He was additionally recognized for his work on porcelain. He died in 1857. The MAK Museum in Vienna is home to a large collection of his works.
August Bohm
A significant Nurnberg engraver of the late 17th century, Bohm dealt with special and a feeling of calligraphy. He inscribed minute landscapes and engravings with vibrant official scrollwork. His job 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) effects 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. Despite his considerable skill, he never ever achieved the popularity and fortune he sought. He passed away in penury. His partner was Theresia Dittrich.
Carl Gunther
In spite of his steadfast work, Carl Gunther was an easygoing man who enjoyed spending time with family and friends. He loved his day-to-day routine of seeing the Collinsville Elder Facility to take pleasure in lunch with his friends, and these moments of camaraderie provided him with a much needed reprieve from his requiring occupation.
The 1830s saw something rather remarkable occur to glass-- it became colorful. Engravers from Meistersdorf and Steinschonau developed highly coloured glass, a preference referred to as Biedermeier, to meet the demand of Europe's country-house courses.
The Flammarion inscription has become a symbol of this brand-new preference and has appeared in publications committed to science as well as those exploring necromancy. It is likewise discovered in many 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 grasped with supreme skill. He created his own techniques, making use of gold streaks and exploiting the bubbles and various other all-natural flaws 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 visual effect of all-natural defects as visual aspects in his works. The event demonstrates the significant effect that Marinot had on modern-day glass production. Unfortunately, the Allied battle of Troyes in 1944 destroyed his workshop and countless illustrations and paintings.
Edward Michel
In the very early 1800s Joshua introduced a style that simulated the Venetian glass of the period. He made use of a technique called ruby point inscription, which includes damaging lines into the surface area of the glass with a difficult metal carry out.
He also created the first threading equipment. This innovation permitted the application practical engraved gifts of long, spirally wound routes of color (called gilding) on the text of the glass, an important 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 excellent quality crystal glass and speciality coloured glass. Their work showed a preference for classic or mythical subjects.
