Studio Art Glass Fused Glass Cased Free Form Vase

Art Nouveau glass art

Top: Begonia cup by Emile Gallé (1894); Center: Favrile glass by Louis Comfort Tiffany (1900–1902); Bottom: Vases by Johan Loetz Witwe (1900)
Years agile	1890s–1914

Art Nouveau drinking glass is fine glass in the Fine art Nouveau fashion. Typically the forms are undulating, sinuous and colorful fine art, commonly inspired by natural forms. Pieces are generally larger than drinking glasses, and decorative rather than applied, other than for use as vases and lighting fittings; there is niggling tableware. Prominently makers, from the 1890s onwards, are in France René Lalique, Emile Gallé and the Daum brothers, the American Louis Comfort Tiffany, Christopher Dresser in Scotland and England, and Friedrich Zitzman, Karl Koepping and Max Ritter von Spaun in Frg. Art Nouveau glass included decorative objects, vases, lamps, and stained glass windows. It was unremarkably fabricated past hand, and was unremarkably colored with metal oxides while in a molten state in a furnace.

Techniques and innovations [edit]

Fine art Nouveau drinking glass was in large part due to technical innovations that allowed glass to take more and better color, to more than lustrous, and to have more unusual forms. Some of these techniques had been used for centuries, only Art Nouveau glass artists greatly expanded the ways they could be used.

• Aventurine glass was commencement invented in 17th or 18th century Venice. It is made to imitate aventurine quartz, it is a yellow glass filled with flecks of sparkling copper particles.
• Cameo drinking glass is like cased glass, with two layers of dissimilar colors. The outer layer is then engraved with a diamond point or etched with acid to create a 2-color design.
• Cased glass is made of ii layers, often of different colors, i inside the other. The outer layer (overlay) is created showtime, and so the inner layer is diddled inside the beginning, then the whole piece is heated so the layers fuse together.
• Crackled drinking glass was glass filled with webs of small-scale cracks and fissures, refracting light and causing the glass to have a sparkling issue.^[i]
• Émaux-Bijoux was a technique invented by Emile Gallé. Translucent layers of enamel were built upward in layers and and then fused to a foil of precious metal, which was then heated and attached to the outside of the drinking glass object.
• Favrile drinking glass was a type of drinking glass invented past Louis Condolement Tiffany. Molten glass was treated with metal oxides that were captivated into the glass and created a distinctive iridescent surface effect.
• Flashed drinking glass fused a sparse outer layer of glass to a thicker glass object, often of a different colour. The larger object was dipped into molten drinking glass, and then heated to fuse the outer layer to the object. The outer layer could so be etched, often diamond, to reveal the color beneath.
• Glass marquetry was a technique developed past Émile Gallé in Nancy. It was similar to marquetry in forest, a method of adding colors that are integral to the body of the slice. It involves adding thin layers of colored glass to the outside of a drinking glass object, often with a thin layer of clear crystal as the outer layer. He then fired the piece in the oven, then the outside surface was etched by acrid or engraved with a diamond to betrayal the design in the layers beneath.^[2]
• Pâte de verre or glass casting is a class of kiln casting which was oft used by Émile Gallé and Daum Glass. In this procedure, finely crushed glass is mixed with a binding material, such as a mixture of gum arabic and h2o, and oft with colorants and enamels. The resultant paste is applied to the inner surface of a negative mould forming a coating. After the coated mould is fired at the appropriate temperature the glass is fused creating a hollow object that tin can accept thick or thin walls depending on the thickness of the pate de verre layers.^[3]

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  Glass marquetry with clematis flowers by Emile Gallé (1890–1900)

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  Crackled glass vase by Emile Gallé, with enamel praying mantis and cigales practical to surface (1889)

France - Émile Gallé and the Daum brothers [edit]

The urban center of Nancy in France was an important heart for Art Nouveau glass industry. The dominant figure in the early way was Émile Gallé of that city. He learned glassmaking in the factory of his begetter in Nancy, which besides made furniture and ceramics. He studied philosophy, phytology and zoology, and also studied painting. He made study trips to London and Paris, where he discovered Japanese art and decoration, which he applied to his glass. He inherited the family house in 1884, and produced a remarkable series of glass objects, using techniques of engraving glass borrowed from Chinese fine art glass, and methods of layering plaques of glass. He also developed methods to better the colour and luminosity of glass, without losing clarity. He presented his Art Nouveau works with success at the Paris Universal Exposition of 1900, and was a founder of the Ecole de Nancy, bridging together architect, glass and furniture designers.^[4]

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  Begonia Rose cup past Émile Gallé (1894). Glass marquetry and engraving, overlays practical to surface

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  Engraved crystal vase past Gallé, circa 1900

Glassware and crystal were arts for which Nancy became particularly known. The glassmaker Jean Daum emigrated to France in 1878 and started his own studio, Daum Glass, which was inherited by his two sons, Antonin Daum and his brother Auguste Daum. They guided the company into the Art Nouveau. The Daum brothers expressed their goal at the cease of the 1880s: "to employ in an industrial way the truthful principles of decorative art."^[five]

Their method was to produce objects in serial, as well equally one-of-a-kind items, and they adapted well to the new technology of electric light bulbs. The vases and lamps usually had very unproblematic designs taken from plants or vegetables, with monochrome or richly varied colors of many dissimilar layers of drinking glass within the lamp.^[vi]

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  Daum lamp with trees and fallen snow (c. 1900)

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  Daum crystal vase with iris flowers (c. 1900)

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  Daum vase with cricket design (1900)

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  Daum Bonbon container with cornflower design of engraved glass, enamel, and golden by Daum (1901)

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  Tulip vase by Antonin Daum (1910)

France - René Lalique [edit]

René Lalique was another prominent designer of Fine art Nouveau glass. Beginning in 1895 he fabricated pieces for the shop of Samuel Bing, the Maison de l'Art Nouveau, which gave Art Nouveau its name. He met the perfume creator François Coty and in 1908 He pioneered in the design of perfume bottles, small-scale drinking glass symbols of modernity, which became a new genre of drinking glass fine art. One example was the sepia stained glass bottle for 'Ambre Antique' Perfume. Some other original design by Lalique was a sugar bowl made of sepia stained glass, wrapped in serpents made of argent. (See image below)

Glass Casting and other artists in French glass art [edit]

Henri Cros was another notable figure in French glass, who rediscovered the ancient Roman technique of pate-de-verre, or glass casting that was described by Pliny. It was made by mixing, when cold, crushed glass, powdered enamels, and binder, usually water. The paste is applied to inner surface of a mold, and then fired. When the firing is done, the mould is removed. If the glass piece does not crumble, it is a fully-colored free-continuing piece of sculpture. The drinking glass paste was used by other French glassmakers, including Albert Dammouse, Georges Despret and Francois Deorchement.^[vii]

Other notable figures in French glass art included Muller Frères, a grouping of brothers originally from Alsace, whose members had fled from Alsace to Nancy later on the High german occupation in 1871. The brothers were skilled craftsmen, who plant employment at first with Emile Gallé, then gear up their own factory nearby in Lunéville. They became expert in drinking glass engraving techniques, especially acid etching and also in layering drinking glass, adding as many as vii colors. They also followed the lead of Gallé in their choice of subjects, focusing on flora and animals. They opened up a collaboration with the Belgian firm Val-Saint-Lambert, and developed with them a new technique of enamelling and engraving chosen fluogravure, simpler and with fewer risks of breaking than the method used past Gallé and the Daum brothers. It involved touching the different layers of drinking glass with enamels of diverse tones, so using acid to fix the colors.^[viii]

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  Cup of glass casting by Albert-Louis Dammouse (Musée d'Orsay)

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  Glass-casting work by Francois-Emile Décorchemont (1910). Dark light-green and blue grass with brown drinking glass paste attachments. (Petit Palais)

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  Les Baies (Berries) vase by Muller Frères. Double drinking glass, devitrified on surface, etched with hydrofluoric acid and decorated with colored enamels, (Petit Palais Museum) (c. 1900)

The United States - Louis Comfort Tiffany [edit]

Louis Comfort Tiffany was the leading effigy in American Art Nouveau glass design. His father was a famous New York jeweler, and he studied painting in New York and Paris before opening a house of interior decoration in New York in 1897. He founded the Tiffany Glass Visitor in 1885, which became the Tiffany Studio later 1900, and opened his own drinking glass factory on Long Isle in 1892. In the early 1890s, working with Arthur Nash, an English glassmaker from Stourbridge England, he invented a method for blending different colors of drinking glass in a molten land in a furnace. They also treated glass with various metallic oxides and exposed it to acid fumes to accomplish more bright lustre and light furnishings. Tiffany named this kind of Favrile glass, from the One-time English give-and-take 'fabrile' or handmade.^[9] Tiffany marketed his early Art Nouveau works at the gallery of Samuel Bing in Paris, which gave Art Nouveau its name. He was peculiarly known for his floral lamps, which became emblems of the Art Nouveau style. Some of the most famous Tiffany lamps were designed by 1 his artists, Clara Driscoll.^[10]

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  Jack-in-the-pulpit vase, Louis Condolement Tiffany, U.S. (1910)

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Vienna - the Vienna Secession - Johann Loetz Witwe, Otto Wagner and Koloman Moser [edit]

Glass, particularly stained drinking glass windows, played a pregnant office in the Vienna Secession. Dissimilar the glass fine art of the Art Nouveau in France, the Secession drinking glass designs were geometric and abstruse, without the curving lines and natural forms of the earlier fashion. Leopold Forstner was an important artist in this domain, working closely with Otto Wagner and other architects. He designed the windows for the Austrian Postal Savings Bank, one of the landmarks of the Vienna Secession fashion, and as well for the St. Charles Borromeo Cemetery Church, the most notable of Vienna Secession churches.

Another notable drinking glass designer of the Vienna Secession was the architect Otto Prutscher, who was part of the Wiener Werkstätte created highly abstract and geometric forms for the far removed from the natural forms of the early Fine art Nouveau.

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  Irised vases past Johann Loetz Witwe (1900)

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Belgium - Philippe Wolfers, Serrurier-Bovy, and Val Saint Lambert [edit]

One of the leading Belgian fine art drinking glass designers was Philippe Wolfers, whose work included the vase "Les Chardins" in 1896} and a more than abstract "Twilight" vase in 1901. The Belgian designer Gustave Serrurier-Bovy created vases and other works that were like to the Secession style, fabricated of metal and glass in geometric forms. The Belgian crystal firm of Val Saint Lambert produced crystal Art Nouveau vases in more traditional floral designs.^[11] These included works past the artist Philippe Wolfers, such equally his "Crepescule" vase (1901). The architect Victor Horta as well created stained glass designs for his interiors. (See Stained Glass windows below)

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Britain - Christopher Dresser [edit]

The Scottish artist Christopher Dresser, from Glasgow, was a leading figure in Art Nouveau glass in the U.k.. Unlike well-nigh drinking glass artists of the fourth dimension, he showed picayune interest in purely natural forms such every bit plants and flowers. He was a member of the movement known every bit Aestheticism, and also was associated with Symbolism and the Anglo-Japanese style, which adapted Japanese aesthetics to European subjects.

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  "Clutha" glass vase past Christopher Dresser (1890) (Metropolitan Museum of Fine art)

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  "Clutha" glass dish by Christopher Dresser (1890s) (Metropolitan Museum of Art)

Stained glass windows [edit]

Victor Horta, the Belgian architect who designed some of the earliest Fine art Nouveau houses, used stained glass windows, combined with ceramics, woods and iron decoration with similar motifs, to create a harmony betwixt functional elements and decoration, making a unified piece of work of art. One example is the stained glass window of the doorway of the Hôtel van Eetvelde in Brussels (1895).

In France, Art Nouveau stained glass was used by Alphonse Mucha to decorate the interior of the jewelry shop of Georges Fouquet. The windows were made past Léon Fargues. The decor is now found in the Carnavalet Museum. Ane of the largest and last examples of Art Nouveau decorative drinking glass in Paris is the cupola of the Galeries Lafayette Department store (1912).

Early Art Nouveau stained glass generally used traditional techniques and subjects, but usually featured floral themes and women as the central figures. The windows fabricated by Louis Condolement Tiffany, such equally those made for the "Pedagogy" window at the Yale University Library (1887–90) were especially lavish, with painted figures. Later, as in his stained drinking glass window of Oyster Bay, he used the Favrile glass process that he patented, in which the molten glass was tinted with metallic oxides to requite its surface an irised result.

Later, in Vienna, the artists of the Vienna Secession created more abstruse, simpler and more than geometric stained glass designs. Koloman Moser designed decorative angels for the windows of the Kirche am Steinhof, a church built by Otto Wagner (1905).

Józef Mehoffer created the windows for the eight side chapels of Fribourg Cathedral betwixt 1895 and 1918, made past the Fribourg stained drinking glass workshop Kirsch & Fleckner. His windows certificate the influences of Fine art Nouveau, Symbolism, Historicism and folk art. The Martyrs' Window (1898-1899) is particularly influenced by Art Nouveau. It was awarded a gilt medal at the Globe Exhibition in Paris in 1900.

In Moscow, the Russian architect Fyodor Schechtel used stained glass windows to create the atmosphere of his most Art celebrated Nouveau house, the Ryabushinsky House, now the Gorky Museum. He too used Art Nouveau drinking glass to create the hit lamp in the shape of a jellyfish that ornaments the master stairway.

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Notes and citations [edit]

1. ^ Bloch-Dermant 1980, p. 195.
2. ^ Bloch-Dermant 1980, p. 198.
3. ^ Bloch-Dermant 1980, p. 152.
4. ^ Fahr-Becker 2015, p. 398.
5. ^ Fahr-Becker 2015, pp. 123–126.
6. ^ Fahr-Becker 2015, p. 123.
7. ^ Bloch-Dermant 1980, p. 168.
8. ^ Bloch-Dermant 1980, pp. 160–163.
9. ^ "Objects of Beauty- Art Nouveau glass and Jewellry". Victoria and Albert Museum, London. Retrieved January 23, 2020.
10. ^ Fahr-Becker 2015, p. 411.
11. ^ Thiébaut 2007, p. 238.
12. ^ Brumfield, William Craft, Fedor Shekhtel - Artful Idealism in Modernist Architecture, Chapter Four, p. 131–139

Bibliography [edit]

• Bloch-Dermant, Janine (1980). The Art of French Drinking glass (1860-1914). The Vendome Press. ISBN0-86565-000-4.
• Fahr-Becker, Gabriele (2015). 50'Art Nouveau (in French). H.F. Ullmann. ISBN978-3-8480-0857-v.
• Garner, Philippe (1976). Gallé (in French). Flammarion. ISBN2-08-012956-2.
• Thomas, Valerie (2009). Le Musée de l'École de Nancy (in French). Somogy. ISBN978-2-7572-0248-7.
• Sembach, Klaus-Jürgen (2013). 50'Fine art Nouveau- L'Utopie de la Réconciliation (in French). Taschen. ISBN978-iii-8228-3005-v.
• Thiébaut, Olivier (2007). Un Ensemble Fine art Nouveau - La Donation Rispal (in French). Musée d'Orsay - Flammarion. ISBN978-ii-0801-1608-6.

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Source: https://en.wikipedia.org/wiki/Art_Nouveau_glass

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