Glass art refers to individual works of art that are substantially or wholly made of glass. It ranges in size from monumental works and installation pieces, to wall hangings and windows, to works of art made in studios and factories, including glass jewelry and tableware.
As a decorative and functional medium, glass was extensively developed in Egypt and Assyria. Invented by the Phoenicians, was brought to the fore by the Romans. In the Middle Ages, the builders of the great Norman and Gothic cathedrals of Europe took the art of glass to new heights with the use of stained glass windows as a major architectural and decorative element. Glass from Murano, in the Venetian Lagoon, (also known as Venetian glass) is the result of hundreds of years of refinement and invention. Murano is still held as the birthplace of modern glass art.
The turn of the 19th century was the height of the old art glass movement while the factory glass blowers were being replaced by mechanical bottle blowing and continuous window glass. Great ateliers like Tiffany, Lalique, Daum, Gallé, the Corning schools in upper New York state, and Steuben Glass Works took glass art to new levels.
Traditionally, glass is a medium for artists. The tradition of precise and colorful metallurgy and blown Venetian glass has been maintained on the Venetian island of Murano since the 13th century, including because of locally occurring pure quartz and the privileged position of the Venetians in trade with the Levant (delivery of sophisticated potash). The contemporary flourishing of Venetian art falls in the 1950s and 1960s. It is still a world center and a kind of a Mecca for artists and glass lovers. There is the Museo Vetrario, or Glass Museum, with locally produced glass, as well as archaeological finds from Egypt and Lebanon – the culture of Phenicia, which the merchants, according to the Roman historian Pliny the Elder, reportedly accidentally created glass in the campfire about 5000 BC
On a culturally separate corner of the scale, the modernist Finnish school is, for example, a vase-sized sculpture, starting with the still-popular Aalto Vase performed by architect and artist in the glass of Alvar Aalto in 1937 and awarded the Grand Prix at the world exhibition of craft and decorative arts in Paris. Generally, Finnish glass is characterized by streamlinedness, transparency, and in the case of unconventional sculpture forms, exaggerated glass thickness, sometimes introduced internal roughness under the ground and thus, the resulting haze effect by light scattering. The Finnish school is still supported, among others by individual artists, as well as a commercial glassworks with affiliated artists-designers of the industrial plant (at the same time a store) of Iittal.
The famous and not fully understood technically is the arch-realist glass of craftsmen and artists in glass from the Blaschka family, settled in Germany, perhaps originating in Venice. Leopold Blaschka and his son Rudolf prepared (in a never-duplicated manner) the so-called ” Glass flowers (English) “. This collection is commissioned by the professor of botany at Harvard University in the late 19th century. This collection, for a total of about 900 specimens, is still considered technically unsurpassed (Harvard Museum of Natural History). Leopold Blaschka also separately made glass models of invertebrates. These specimens are held by Cornell University in Ithaca and the National Museum of Irelandin Dublin.
Undoubtedly, the most diverse artistic glass is currently being made in the United States. American, individual metallurgy of artistic glass dates back to the colonial times, when household objects were smelted from characteristic greenish glass with specially hardened air bubbles promoted in it – for decorations. Currently, many individual artists work in the USA, and art in glass is taught and practiced at universities, including the postmodern trend. Many small artists make sculptures and dishes, glass flowers, figures, recently accompanied by computers. Traditionally, they are ware vessels in full, bright or darkened colors from steelworks in Appalachia, e.g. ruby or emerald in the color of bowls and vases made by generations of company artistsBlenko Glass Company.
In the 20th century the main place of flourishing pottery glazes and glass peculiar American-style art deco was Cincinnati, in particular lab Rockwood Pottery – one of the first companies founded and run by a woman, in 1880. Marija Longworth Nichols, the wife of philanthropist and musical singer of Wild Bill Hickok, Colonel George Ward Nichols, was the heiress to the family of Cincinnati tycoons, the Longworths. Rockwood Pottery products have been awarded at numerous exhibitions in Europe. After the stock market crash, these traditions went to rubbish, but recently they have been continuing.
Separately, Harvey Littleton initiated a new art direction in inflatable glass, made in small office settings instead of glassworks. Littleton grew up in Corning, where his father was one of the heads of kitchen, home and laboratory objects (eg Pyrex glass), as well as industrial glass: Corning Glassworks, and where for many years there has been the most glass museum exhibits in the world. Littleton himself later taught art and traditions, including European, a generation of new blowers and artists at the University of Wisconsin-Madison.
Littleton’s student was among others the sculptor in the glass of monumental proportions – Dale Chihuly from Tacoma. His installations both in botanical gardens outside or those incorporated into plants and trunks, as well as snake-like chandeliers hung on steel ropes under large domes, often consist of hundreds of elements made in the so-called. Spiral glass, modeled on the Venetian, though melted and blown out to more peculiar, natural and fantastic shapes. Chihuly is probably the most prolific artist in glass in the world – writing down his workshop, books and catalogs assigned to his authorship and museum exhibitions, is an operation that requires a whole staff of people, like a tour and record production.
Outside the United States, abstract and commercial artists in inflatable glass are particularly active in Venice (and generally Italy), Great Britain, Ireland, Finland, the Netherlands, Sweden, Denmark and Japan. Spanish traditions in decorative glass are also cultivated in South and Central America, especially idiosyncratic in Mexico. The Brazilian artist Kim Poor (wife of guitarist Genesis and Steve Hackett) is valued for the original technique of putting glass with a sprayed, intense pigment on steel, and Salvador Dalí called it Diafanism (this word is said to have been added to the English lexicon Oxford English), he ang./ Latin diaphanous: “almost transparent, slightly hazy”. The fruits of her art are widely available in the form of reproductions: album covers made by her husband.
In Poland, Czechoslovakia and Germany, for centuries, glass painting, the manufacture of church stained glass and cut-out lead glass (so-called crystals) have been traditionally obtained, first obtained by blowing glass. A similar tradition has the Irish people in the form of Waterford Crystal, produced since the eighteenth century, mainly bought in the United States. The famous luminous New Year’s falling ball – Times Square Ball from New York is traditionally produced piece by piece in Waterford.
In Poland, one of the most well-known creators of modern, large-format, thick artistic glass cast in furnaces with the use of many technologically complex own techniques is architect Tomasz Urbanowicz, whose works decorate many prestigious public buildings in Poland and in the world. Urbanowicz’s glasses also participated three times in Poland’s presentations at the world EXPO exhibitions: at the EXPO 2000 in Hannover (Germany) – in the presentation of Lower Silesia at the EXPO 2005 in Aichi (Japan) where the composition “Piano Soul” was the main artifact of the Polish Pavilion and at the EXPO 2008 in Zaragoza (Spain), where the composition “Poland – wind in sails” was part of the idea of national presentation.
Traditional Christmas baubles are a German invention of blown artistic glass on a miniature scale. As the tradition of the Christmas tree itself, they have spread globally.
The first uses of glass were in beads and other small pieces of jewelry and decoration. Beads and jewelry are still among the most common uses of glass in art, and can be worked without a furnace.
It later became fashionable to wear functional jewelry with glass elements, such as pocketwatches and monocles.
Wearables and couture
Starting in the late 20th century, glass couture refers to the creation of exclusive custom-fitted clothing made from sculpted glass. These are made to order for the body of the wearer. They are partly or entirely made of glass with extreme attention to fit and flexibility. The result is usually delicate, and not intended for regular use.
Some of the earliest and most practical works of glass art were glass vessels. Goblets and pitchers were popular as glassblowing developed as an art form. Many early methods of etching, painting, and forming glass were honed on these vessels. For instance the millefiori technique dates back at least to Rome. More recently, lead glass or crystal glass were used to make vessels that rang like a bell when struck.
In the 20th century, mass produced glass work including artistic glass vessels were sometimes known as factory glass.
Stained glass windows
Starting in the Middle Ages, glass became more widely produced, and used for windows in buildings. Stained glass became common for windows in cathedrals and grand civic buildings.
Glass facades and structural glass
The invention of plate glass and the Bessemer process allowed for glass to be used in larger segments, to support more structural loads, and to be produced at larger scales. A striking example of this was the Crystal Palace in 1851, one of the first buildings to use glass as a primary structural material.
In the 20th century, glass became used for tables and shelves, for internal walls, and even for floors.
Some of the best known glass sculptures are statuesque or monumental structures such as the statues by Livio Seguso, or by Stanislav Libenský and Jaroslava Brychtová. Another example is René Roubícek’s “Object” 1960, a blown and hot-worked piece of 52.2 cm (20.6 in) shown at the “Design in an Age of Adversity” exhibition at the Corning Museum of Glass in 2005. A chiselled and bonded plate glass tower by Henry Richardson serves as the memorial to the Connecticut victims of the 9/11 terrorist attacks.
Art glass and the studio glass movement
In the early 20th century, most glass production happened in factories. Even individual glassblowers making their own personalized designs would do their work in those large shared buildings. The idea of “art glass”, small decorative works made of art, often with designs or objects inside, flourished. Pieces produced in small production runs, such as the Lampwork figures of Stanislav Brychta, are generally called art glass.
By the 1970s, there were good designs for smaller furnaces, and in the United States this gave rise to the “studio glass” movement of glassblowers who blew their glass outside of factories, often in their own studios. This coincided with a move towards smaller production runs of particular styles. This movement spread to other parts of the world as well.
Functional Glass Art in the 21st century
There has been a massive explosion in the underground art scene revolving around functional glass art. Many people agree that Bob Snodgrass was the first to popularize glass smoking vessels as well as fume (melting gold and silver to color glass). As he traveled with the Grateful Dead he was able to share his techniques to many different people in many different communities before settling down in Oregon and creating the Eugene Glass School. As time went on, more and more artists got involved with pipe making and with the introduction of social media the market exploded. Top artists such as Quave, Banjo, and Sagan are able to bring in upwards of one hundred thousand dollars per piece with the market only expanding as the prohibition on marijuana slowly comes to an end.
Combining many of the above techniques, but focusing on art represented in the glass rather than its shape, glass panels or walls can reach tremendous sizes. These may be installed as walls or on top of walls, or hung from a ceiling. Large panels can be found as part of outdoor installation pieces or for interior use. Dedicated lighting is often part of the artwork.
Techniques used include stained glass, carving (wheel carving, engraving, or acid etching), frosting, enameling, and gilding (including Angel gilding). An artist may combine techniques through masking or silkscreening. Glass panels or walls may also be complemented by running water or dynamic lights.
Techniques and processes
Several of the most common techniques for producing glass art include: blowing, kiln-casting, fusing, slumping, pate-de-verre, flame-working, hot-sculpting and cold-working. Cold work includes traditional stained glass work as well as other methods of shaping glass at room temperature. Glass can also be cut with a diamond saw, or copper wheels embedded with abrasives, and polished to give gleaming facets; the technique used in creating Waterford crystal.
Fine paperweights were originally made by skilled workers in the glass factories in Europe and the United States during the classic period (1845-1870.) Since the late 1930s a small number of very skilled artists have used this art form to express themselves, using mostly the classic techniques of millefiori and lampwork.
Art is sometimes etched into glass via the use of acid, caustic, or abrasive substances. Traditionally this was done after the glass was blown or cast. In the 1920s a new mould-etch process was invented, in which art was etched directly into the mould, so that each cast piece emerged from the mould with the image already on the surface of the glass. This reduced manufacturing costs and, combined with a wider use of colored glass, led to cheap glassware in the 1930s, which later became known as Depression glass. As the types of acids used in this process are extremely hazardous, abrasive methods gained popularity.
Knitted and felted glass
Knitted glass is a technique developed in 2006 by artist Carol Milne, incorporating knitting, lost-wax casting, mold-making, and kiln-casting. It produces works that looks knitted, though they are made entirely of glass.
Chinese artists Zhengcui Guo and Peng Yi premiered a technique of felted glass or “glelting”, with positive critical reviews, at the 2015 Ha You Arts Festival.
In 2015, the Mediated Matter group and Glass Lab at MIT produced a prototype 3D printer that could print with glass, through their G3DP project. This printer allowed creators to vary optical properties and thickness of their pieces. The first works that they printed were a series of artistic vessels, which were included in the Cooper Hewitt’s Beauty exhibit in 2016.
Glass printing is theoretically possible at large and small physical scales, and has the capacity for mass production. However as of 2016 production still requires hand-tuning, and has mainly been used for one-off sculptures.
Methods to make patterns on glass include caneworking such as murrine, engraving, enameling, millefiori, flamework, and gilding.
Methods used to combine glass elements and work glass into final forms include lampworking.
Historical collections of glass art can be found in general museums. Modern works of glass art can be seen in a dedicated glass museums and museums of contemporary art. These include the Chrysler Museum in Norfolk, Virginia, the Museum of Glass in Tacoma, the Metropolitan Museum of Art, the Toledo Museum of Art, and Corning Museum of Glass, in Corning, NY, which houses the world’s largest collection of glass art and history, with more than 45,000 objects in its collection. The Museum of Fine Arts in Boston features a 42.5 feet (13.0 m) tall glass sculpture, Lime Green Icicle Tower, by Dale Chihuly. In February 2000 the Smith Museum of Stained Glass Windows, located in Chicago’s Navy Pier, opened as the first museum in America dedicated solely to stained glass windows. The museum features works by Louis Comfort Tiffany and John Lafarge, and is open daily free to the public.
The Harvard Museum of Natural History has a collection of extremely detailed models of flowers made of painted glass. These were lampworked by Leopold Blaschka and his son Rudolph, who never revealed the method he used to make them. The Blaschka Glass Flowers are still an inspiration to glassblowers today. The UK’s National Glass Centre is located in the city of Sunderland, Tyne and Wear.
Source from Wikipedia