THE GLASS

the star of the show

Vaso Art Nouveau, Schneider, Donata Patrussi

From bevelled crystal to love of color

GLASS ART

Towards the end of the nineteenth century, glass production reached levels never seen before. The new technology for its production and new scientific knowledge – in physics and above all chemistry – led artists and producers to take advantage of innovative possibilities.
International exhibitions that from 1851 took place regularly had helped to spread fresh trends which led to an exchange of ideas between artists and manufacturers, thereby influencing each other reciprocally. The tastes in previous centuries, that saw the domination of incontestable pieces such as cut crystal or transparent glass, were replaced by an interest in colour and chromatic effects that could be obtained with these new ideas. Artists and master glassmakers could give free rein to their creativity, and by participating in national fairs and international exhibitions, they enthusiastically looked to obtain awards and recognition for their glass art works.

Vaso Art Nouveau, Schneider, Donata Patrussi

From bevelled crystal to love of color

GLASS ART

Towards the end of the nineteenth century, glass production reached levels never seen before. The new technology for its production and new scientific knowledge – in physics and above all chemistry – led artists and producers to take advantage of innovative possibilities.
International exhibitions that from 1851 took place regularly had helped to spread fresh trends which led to an exchange of ideas between artists and manufacturers, thereby influencing each other reciprocally. The tastes in previous centuries, that saw the domination of incontestable pieces such as cut crystal or transparent glass, were replaced by an interest in colour and chromatic effects that could be obtained with these new ideas. Artists and master glassmakers could give free rein to their creativity and by participating in national fairs and international exhibitions, they enthusiastically looked to obtain awards and recognition for their glass art works.

The poetry of the early twentieth century

THE EAST AND ITS INFLUENCE

The effect of industrialisation on Applied Arts meant that the glass, thanks to new technical possibilities, became a product for everybody.
The study, the research on antique glass, and the revival of its historic models but with a modern approach, marked the period as being one of the most prolific. Rarely had glass been seen to take so many forms.
In the art of Twentieth-Century glass making, the style was inspired mainly by elements of flora and fauna as well as the culture of Eastern Asia (China and Japan) that, thanks to these worldwide exhibitions, these distant and fascinating cultures had been introduced to the West.

Vaso Art Nouveau, Donata Patrussi Firenze
Vaso Art Nouveau, Donata Patrussi Firenze

The poetry of the early twentieth century

THE EAST AND ITS INFLUENCE

The effect of industrialisation on Applied Arts meant that the glass, thanks to new technical possibilities, became a product for everybody.
The study, the research on antique glass, and the revival of its historic models but with a modern approach, marked the period as being one of the most prolific. Rarely had glass been seen to take so many forms.
In the art of Twentieth-Century glass making, the style was inspired mainly by elements of flora and fauna as well as the culture of Eastern Asia (China and Japan) that, thanks to these worldwide exhibitions, these distant and fascinating cultures had been introduced to the West.

Vaso Art Nouveau, Donata Patrussi Firenze

The birth of glass art

EMILE GALLÉ

Emile Gallé is considered to be the first artist who worked in glass to be completely fascinated by this eastern culture and take inspiration from it using its decorative motifs and its forms to apply it to glass making. Subsequently, many other artists and manufacturers also looked towards patterns and decorative elements from Eastern Asia. The techniques used were the most varied: for example the so-called “cameo”, derived from the antique process of working agate, where a design was obtained by the use of acid on two or more layers of glass; the “martelé” effect (etching process using a wheel with a grindstone similar to the one used on iron) and the “marqueterie” decoration (in-lay work on glass derived from the process used on wood). The exotic flowers taken from Japanese woodcuts and prints, such as orchids, irises, chrysanthemums, lotus flowers, water lilies, lilies and peonies were the uncontested protagonists of a large number of  models of vases, which were allso appreciated for their elegance.

Vaso Art Nouveau, Donata Patrussi Firenze

The birth of glass art

EMILE GALLÉ

Emile Gallé is considered to be the first artist who worked in glass to be completely fascinated by this eastern culture and take inspiration from it using its decorative motifs and its forms to apply it to glass making. Subsequently, many other artists and manufacturers also look towards patterns and decorative elements from Eastern Asia. The techniques used were the most varied: for example the so-called “cameo”, derived from the antique process of working agate, where a design was obtained by the use of acid on two or more layers of glass; the “martelé” effect (etching process using a wheel with a grindstone similar to the one used on iron) and the “marqueterie” decoration (in-lay work on glass derived from the process used on wood). The exotic flowers taken from Japanese woodcuts and prints, such as orchids, irises, chrysanthemums, lotus flowers, water lilies, lilies and peonies were the uncontested protagonists of a large number of  models of vases, which were allso appreciated for their elegance.

A new geometry

ART DÉCO

Even the fantastic landscapes, lakes, and woods that were typical of eastern culture inspired artists as did animals: butterflies, dragonflies, birds, and insects all decorated the most unusual shapes of vases.
The works were no longer made to be used, nor did they have to follow a stylistic form, but simply the glass craftsmen and artists aspired to create something that could satisfy the spirit too with its beauty.
With the International Exhibition of Modern Industrial and Decorative Arts in Paris in 1925, which marks the beginning and gave the name to the Art Déco period, there is a substantial change that had already been seen previously.
The sinuous and soft lines that had characterised the Art Nouveau period are substituted by the simplest geometric and stylised decorative motifs using straight lines and right angles.

Vaso Art Nouveau, Schneider, Donata Patrussi
Vaso Art Nouveau, Schneider, Donata Patrussi

A new geometry

ART DÉCO

Even the fantastic landscapes, lakes, and woods that were typical of eastern culture inspired artists as did animals: butterflies, dragonflies, birds, and insects all decorated the most unusual shapes of vases.
The works were no longer made to be used, nor did they have to follow a stylistic form, but simply the glass craftsmen and artists aspired to create something that could satisfy the spirit too with its beauty.
With the International Exhibition of Modern Industrial and Decorative Arts in Paris in 1925, which marks the beginning and gave the name to the Art Déco period, there is a substantial change that had already been seen previously.
The sinuous and soft lines that had characterised the Art Nouveau period are substituted by the simplest geometric and stylised decorative motifs using straight lines and right angles.

Vaso Art Nouveau, Donata Patrussi Firenze

New techniques and forms

DAUM

Many artists remained faithful to the style of using floral elements and naturalism, but recreated them with new designs that were far from those of the previous period. One example of this is the rose that, redesigned in a stylised geometric shape, became a model and a symbol for many designers.
Firms such as the Daum brothers, that already stood out in the Art Nouveau period, experimented with new techniques collaborating with other artists, such as Henry Bergè, a designer, and with Amalric Walter, a glassmaker, to create small containers, ashtrays, and boxes decorated wtih animals including insects, crustaceans, snakes, lizards, all with clear eastern influences. Furthermore, the production of the vases changed: it moved onto using the acid-etching process creating very pronounced and stylised flowers and very elegant and refined geometric subjects.

Vaso Art Nouveau, Donata Patrussi Firenze

New techniques and forms

DAUM

Many artists remained faithful to the style of using floral elements and naturalism, but recreated them with new designs that were far from those of the previous period. One example of this is the rose that, redesigned in a stylised geometric shape, became a model and a symbol for many designers.
Firms such as the Daum brothers, that already stood out in the Art Nouveau period, experimented with new techniques collaborating with other artists, such as Henry Bergè, a designer, and with Amalric Walter, a glassmaker, to create small containers, ashtrays, and boxes decorated wtih animals including insects, crustaceans, snakes, lizards, all with clear eastern influences. Furthermore, the production of the vases changed: it moved onto using the acid-etching process creating very pronounced and stylised flowers and very elegant and refined geometric subjects.

“La Verre Français” and “Charder”

SCHNEIDER

The Schneider brothers’ production, with Charles who had worked in his early years with the Daum brothers and who was the tireless mastermind, also established itself between 1918 and 1930, with original creations using impressive bright colours and subjects such as flowers, plants, animals and geometric patterns consistent with the era.
The Schneider production had two separate lines with different styles that were clearly defined and with two different brand names: “Schneider,” with glass vases in limited editions with superimposed and contrasting colours and executed using the “intercalair” technique and “inlay” applications (marqueterie) and the brand “Le Verre Francais” and “Charder,” a contraction of the name Charles Scheider, an industrial production that used a simplified technique of double layers of glass or a number of layers that were then acid-etched.

vaso-schneider-antiquariato-donata-patrussi-firenze-13
vaso-schneider-antiquariato-donata-patrussi-firenze-13

“La Verre Français” and “Charder”

SCHNEIDER

The Schneider brothers’ production, with Charles who had worked in his early years with the Daum brothers and who was the tireless mastermind, also established itself between 1918 and 1930, with original creations using impressive bright colours and subjects such as flowers, plants, animals and geometric patterns consistent with the era.
The Schneider production had two separate lines with different styles that were clearly defined and with two different brand names: “Schneider,” with glass vases in limited editions with superimposed and contrasting colours and executed using the “intercalair” technique and “inlay” applications (marqueterie) and the brand “Le Verre Francais” and “Charder,” a contraction of the name Charles Scheider, an industrial production that used a simplified technique of double layers of glass or a number of layers that were then acid-etched.

Vaso Art Nouveau, Schneider, Donata Patrussi

A sought-after production

THE CHARM OF GLASS TODAY

Thanks to the success of this second brand name, not only on the European market but also across the ocean, the production was enormous but ended brusquely with the economic crisis of 1929.
After a period of oblivion today, thanks to the studying and research of enthusiasts and collectors, it is again one of the most popular productions.
The artists who worked in the nineteenth and part of the twentieth century made a contribution consisting of fascination, creativity, and courage to break away from past models to an age-old art of glass, which still today continues to engage and surprise the viewer. Behind every object, there was a thought, an effort to communicate its beauty, sensitvity and fragility in the aura of time.

Vaso Art Nouveau, Schneider, Donata Patrussi

A sought-after production

THE CHARM OF GLASS TODAY

Thanks to the success of this second brand name, not only on the European market but also across the ocean, the production was enormous but ended brusquely with the economic crisis of 1929.
After a period of oblivion today, thanks to the studying and research of enthusiasts and collectors, it is again one of the most popular productions.
The artists who worked in the nineteenth and part of the twentieth century made a contribution consisting of fascination, creativity and courage to break away from past models to an age-old art of glass, which still today continues to engage and surprise the viewer. Behind every object, there was a thought, an effort to communicate its beauty, sensitvity and fragility in the aura of time.