Russian art glass
Russian history art glass on begins in the era of Kievan Rus, when in many ancient Russian cities appeared the first master skies, making smalts for mosaics and simple women's jewelry - beads, bracelets,rings. This tradition was interrupted duringMongol-Tatar invasion. And therefore in XVII century, when there was a need for glass, withhad to turn to the experience of European masters ditch.
An important role in the process of formation of the Russian artistic glassmaking fell to the lot ofMailovsky factory, founded in 1668. Ryahouse with foreigners, Russians also worked at the plant masters who creatively mastered the advanced experience of European glassmaking. Got here development of the two main schools of the Baroque era. od on of them originates from the Venetian masters,working in the technique of free blowing (gut Noah), the other continues the tradition of Bohemian glass-carvers. The gut technique was quite early mastered by Russian masters, many of whomsubsequently founded their own acceptance. Engraving remains for some time was the privilege of foreign craftsmen and only in XVIII century was developed at the leading glass factories of the country.
The rarest are "funny cubes"Izmailovsky plant, made by Andrey Lerin. His methods were widely used innative masters throughout XVIII century, especially in the manufacture of various vessels in the form of horses, bears, birds.
During the XVII - XVIII centuries in Russia86 glass factories were founded, some of them exist to this day (Gusevsky, Dyatkovsky). Most factories based in XVII - XVIII centuries, made window glass andprefabricated products simple shapes from the bottle flaked glass - shtofs, bottles, jugs. mnosome of them have become works of folk art pieces, after they were painted with enamel in special workshop. Here and biblical jets (Joseph the Beautiful, Adam and Eve), and stories cal (Gangut battle), and the theme of the holiday, and lush floral ornaments combined with animal pictures.
Russian art glass of the 17th - 19th centuries.
In the first half XVIII century in RussiaThere were three main glass engraving centers. Petersburg was the leader. Pe collectionTerburg engraved glass beginsfrom modest, still student work began XVIII century and ends with virtuoso workmi Petersburg engravers of the end XVIII century. All works are made in the style of Russian variant and baroque. Cubes with the image of the Russian double-headedeagle, monograms and portraits of monarchs. in sulfurone century there is also a significant the number of cubes with images of parades, hunting whose and pastoral scenes against the backdrop of architectural landscape.
Provincial engraving centersput in the collection of works of mastersMaltsov and Nemchinov factories. Especially aboutthe Maltsov family was flourishing, the head of Vasily Maltsov in 1730 became the ownercement of a small plant in the Mozhaisk district. K contsu century in the hands of this family has already been15 glass factories are concentrated. Maltsov engraved glass was designed for mediumlayers of the Russian people - merchants, officials.Therefore, in its ornamentation, baroque principlesand the problems turned out to be refracted throughlens of popular perception. Very common ondedicatory inscriptions in Maltsov glass. The masters also turned to the "gallant" plot, but in theirinterpretation, he received a popular coloring.
Similar in its artisticcontrol was the glass of the Nemchinov factories,who in the third quarter XVIII century belonged to several factories in the Smolensk province.It is noteworthy that all Nemchinov engraverswere exclusively serfs, and glassmade to order only.
In the last third XVIII century Russian glassdivision is developing at a particularly rapid pace.The number of factories is growing, their sizes are increasing. Glassmaking becomes a prestigious occupation, andRussian nobility starts glass on their estatesenterprises. Among the owners of factoriesstny princes Potemkin and Golitsyn, Count Orlov.
Leading role in the production of artvein glass preserves the state-owned factory, whichry from 1792 became known as the Imperial factory. Its products were orientedmainly for the decoration of the court wouldthat. Not inferior to him in terms of product quality based ny in 1764, the Nikolsko-Petrovsky plant for squire Bakhmetiev.
The appearance of art glass last tre ty XVIII century is determined by the style of classicism. At this time, the asrange of products that have become less universal greasy. Table setting became more complicated, and onthe meaning of each item became more limited. The first wine sets appear, withstanding out of decanters and glasses. Made from glassoil dishes, tureens, pots, spice bowls,perfume bottles, snuff boxes, etc. Increasing the role of glass in the interior. Inner chambers yard tsov are decorated with vases, candelabra, chandeliermi, stenniks, mirrors, and are also madefurniture inserts.
Significant changes are also taking place in nike glass manufacturing. In addition to the previously knownbottle green and colorless glass according tois also colored (red, green, blue, purple, milky). Even though the Russiansmasters learned how to cook colored glass also in early XVIII century, its widespread use falls on the last third 18th century and largely stimulated by the developments of M. Lomono owl.
Glass decorating techniques are also changing.Engraving gives way to painting with gold, silverbromine, enamels. Popular in the 70s and 80s XVIII century there was colorless glass with fine paintingsue white enamel with purple.
It still bears a compromise in many respects.rakter, as its rocaille plot (bosquet groups) is combined with a strict classical form and interpretation of ornaments.
Forgotten techniques are being revived, such asfiligree (Venetian thread). It is used to decorate the legs of glasses and glasses, and sometimes covers the entire body of decanters. Colorlessglass with gold and silver painting editionetsya mainly Imperial and Bakhmetevsky plants. Their products are differentfriend only by the fact that in Bakhmetiev glass there are more often gilding is combined with silvering andtransparent enamels.
Products of the Imperial factory were more consistent in stylistic terms, they are more restrained in form and ornamentation.This difference is especially noticeable in colored glass,whose palette at the Imperial Factory was much richer, as well as ornamentation.Here, in addition to monograms, wreaths, garlands, oftenyou can see mythological compositions and landscapes.
Stained glass has been widely used indesign of lighting fixtures - chandeliers,sconces, candelabra, where it was combined with gilded bronze. A large role in the interior is played by host of mirrors and reflectors, on the surfaces ofwhich were often engraved with allegorical figuresry or characters of the Italian comedy.
Russian glass XIX century is extremely differenttea variety of forms and decorativetricks. At this time, the requirements for the quality of the material and is constantly being improved its production technology. production stack la becomes more and more industrial characterter. The number of factories is increasing significantly. If at the beginning XIX century in Russia there were 114 factoriesDov, then in 1889 there were already 258 of them, but only 57of them produced "glassware".
First third of XIX century is rightfully considered menem of the heyday of Russian art glassdelia. For the first time they began to be involved in leadership and work professional artists. On theImperial glass factory A. Voronikhin, Thomas de Thomon, C. Rossi, I. Ivanov are developing whether sketches of ceremonial services, vases, tabledecorations that were grandiosetheir size and the courage of the technicalopinion. Many of them were intended forsolutions of royal residences. All artisticworks of the first third 19th century mainly from new, just mastereddark colorless lead crystal with diamond noah edge. Strict forms of products, coldflickering facets of geometric nature naimore clearly expressed aesthetic principles empire. Very often monti crystal products were cast into gilded bronze, which was also favorite material of this stylistic direction.
Central role in the design of artvein glass of the first third 19th century occupies heroic theme of the war of 1812. Especially brightit is expressed in the first crystal products withmilk medallions, which were placedportraits of war heroes - Kutuzova, Platova, Vit genstein. The performers of these portraits werepainters of the Imperial Porcelain FactoryP. Rokshtul and the master of the Bakhmetevsky factory A.Vershinin. Heroic theme got sosame reflection in engraved glass. itmainly small items: glasses, glasses, plates, which reproduced kacartoons by I. Terebnev, I. Ivanov, and severallater, in the 1830s, the bas-reliefs of F. Tolstoy.
Stained glass was rarely used in the Empire era. Interest in him again arose only in the second quarter XIX century. At the first All-Russian exhibition in 1829, it was noted that "colored steel things that are out of use,and now again in great fashion, it seemed as ifadorned with sapphires, emeralds, topazes,rubies the purest water especially adorableopal and rezeopaline products". On the samethe exhibition showed vases of the "new imageretenii", made of two-layer glass(colorless and golden ruby), mounted in gilded bronze.
Empire style works of the Imperialthe water was exuberant. Charakthorny were sets, large vases, candelabry, mounted in gilded bronze and additionallined with gilded porcelain. Spreadingreceived also vases with a pattern in "neo Greek style".
At the Bakhmetevsky and Orlovsky factories,more modest products were made, often usedused a combination of color and colorlessglass, diamond edge and gilding with silvering. In the painting, plant motifs alternate from architectural views all kinds of haraktera. Chinese plots are popular at this timeyou, who then remained faithful to the original sourceku, then combined with purely classic motives.
By the middle of the XIX century glass production takes on an industrial character. Meanthe technical capabilities of glassDelia, the palette of colored glass has expanded. AT1840s production of dark cherries begins new " copper ruby"and uranium glass of two types - "green" and "yellow". Opaque "silenced" glasses are spreading everywhere, reminiscent of turquoise, jasper, lapis lazuli, etc.
At the Dyatkovo plant in 1849,vases and decanters "mosaic work". Further the technique of coloring is developing. Only use both two and three layers of glass.
Among the stylistic diversity of the 40-50s XIX centuries, the most stable werewhether neo-gothic and rococo, which are especiallywhich appeared in the products of the Imperial Factory Yes.
Provincial glassmaking is practicallydid not know a clear stylistic orientation.Here the masters went more from the material, technology,functionality and therefore their work was moremore complete and clear.
At this time, there is a return to free living forms, to colored ornaments, scattersledge on the surface of objects, most oftenmade of colored glass. It's interesting thatdirectly gothic and rocaille mochiyou were rarely used in Russian glassand interpreted very broadly.
In Russia, the second half 19th century situation in artistic glassmaking was complicated by the fact thatthat such leading factories as Imperial andBakhmetevsky, based on non-commercialbasis, become unprofitable, their production is shrinking. Leadership goes to privateenterprises for which the requirements of the marketwere decisive.
Since the 1870s, there has been a significant increasethe volume of production of crystal with a rich diamond facet is increasing. Increasing interest in engravingbathroom glass. leadership in its production and quality belonged to the Dyatkovo plant.
At this time, interest intraditional folk art, the imitation of which resulted in the so-called "Russianstyle. "He also touched on glass, which is oftenbegan to decorate with polychrome enamel,drawing motifs from embroidery, carving or painting on tree. On the edge XIX - XX centuries formednew stylistic direction, which receivedthe name in Russia is "modern". However, in Russianglass, he did not receive any independent development. On Imperial and Gusevfactories produced unique productsDenia, made in the manner of the famous French artist Emile Galle.
Soviet glass, as an independent artistic phenomenon, made itself known only in the 1940s. years XX century. Before that, at domestic factories produced only products repeating woodration samples or everyday utensils. Forward to glass, as to modern artistic V. Mukhina turned to this material, on whose initiative in 1940 it was created in Leningrad experimental art laba workshop designed to provide the glass industry with new modern samples. The slogan of this time was a new imagery, in which was based primarily on the functionthe nature of forms, manufacturability,sense of material, limited decor. ThisSoviet glass remains faithful to the principles and until now.
In the 1950s - early 1960s on glassfactories of the country were created artistic lalaboratory, where professional artists came, through whose efforts the products of eachthe plant has acquired its own artistic specificity.Modern glass has taken one of the leading places in the ensemble of Soviet arts and crafts.art. Its feature is that thebot over mass functional thing painmost artists combine with creative claims in the field of purely decorative. It's nahodit expression in exhibition compositions, where artists with particular clarity declare your art program. It is also noteworthy that Soviet glass artists activelyrespond to all the events of our time and manygo are working on creating thematic, civilworks given in their pathos. AT in their works, glass appears before us as inexpressible scooped up in its possibilities plasticmaterial, by means of which almost any task can be solved. This period is markedactive search for a new, modern stylela, through the gradual overcoming of the old methods, and sometimes through their complete denial. In pro In the works of V. Mukhina and B. Smirnov of the same years, tradition gives way to innovation. Here is another measure of the useful and beautiful. Beauty is seen in simplicity and naturalness of functionalforms, in the limitations of laconic decor.
Second half of the 1960s and first halfThe 1970s was marked by increased interest in decorative form. Large ensembles are created from glass, where the unitary form acts only as one of the components. Originthere is a kind of aestheticization of householdmeta which is now meant to be whaton its basis to create a poetic "abouttimes of life. "Indicative in this regard are the ensembles"Festive table" B. Smirnov and "hospitableny "D. and L. Shushkanov. They are widely usedthe traditions of folk free glass were used, which were actively rethought in the 1970sare created by Soviet artists who createfundamentally new works on this basis.The inspired plasticity of V. Shevchenko is remembered.
Works in crystal are also marked by innovation. The traditional diamond facet in the works of Filatov and M. Grobar acquires a new imagery. It acts not only as an element of decor, but also has a formative function.
The second half of the 1970s characterizesdue to the fact that decorative glass actively invades the public interior, it becomes an emotional the main dominant of the exhibition exposition. ATglass solves problems that were previously considered exclusive privilege of fine art kusstva. The usual hierarchy of mate is brokenrials and technology. In the works of A. Stepanova, B. Muratova, B. Fedorova, N. Tikhomirova crystal acquires the previously alien freedom of plasticity, all the richness of the properties inherent in it is usedvano to create figurative-associativeny images. Thin, hand-blown glass with chandeliers and gold painting, which is successfully created by E. Vikhrova and Y. Manelis, distinguishes itself with intimacy. In molded glass, the floor is highly spiritualny compositions by D. and L. Shushkanov, where virtuoso technique turns glass into a genuine jewel.
Soviet art glass of the lasttime, in all the richness and diversity of the creative individuals that create it, appearsbefore contemporaries as surprisingly intactnew phenomenon. In him careful attitude to the national tradition is combined with a bold innovator property, and poetic mood - with a highcitizenship.
AT State Historical Museum an exhibition dedicated to the work of Russian masters from a fragile material - glass, called "Russian glass of the late 18th - early 20th centuries". This exhibition took place thanks to many happy circumstances. The exhibition hall of the museum houses the collection of G.N. Oistrakh, which she collected for over 30 years. Now the collection has been bought by the Ministry of Culture of the Russian Federation and transferred to the funds Historical Museum. The high bar that was set during the creation of the collection made it possible to collect items in perfect condition, without chips, cracks, or abrasions of gold.
The entire hall of the exposition is filled with light reflections that run along the glass edges of the sets and vases. Different colors, different processing technologies turn this material into a variety of fascinating objects. And I can’t even believe that some of them were in use, and did not immediately go into collections.
A glass with a lid with an ornamental pattern and the monogram "SA" under the crown in the medallion. St. Petersburg.
Imperial glass factory. End of XVIII-XIX century. Glass "golden ruby" and colorless; faceting, gold painting.
Fragment. A glass with a lid with an ornamental pattern and the monogram "SA" under the crown in the medallion.
St. Petersburg. Imperial glass factory. End of XVIII-XIX century.
In 1777, Catherine II presented the St. Petersburg State Plant to Potemkin for perpetual hereditary use. After the death of Grigory Alexandrovich, the factory in 1792 went to the treasury and was placed under general management with the Imperial Porcelain Factory. Since that time, the glass factory has also become known as the Imperial.
Mug with a portrait of Emperor Alexander I and the inscription "Liberator of Europe". St. Petersburg. Imperial glass factory. 1810s. Colorless crystal, milky glass; cutting, grisaille painting, gilding.
Colored glass at the Imperial Glass Factory began to be brewed thanks to the work of the great Russian scientist M.V. Lomonosov. It was he who, on the instructions of the Chancellery from the buildings, taught the master of the St. Petersburg glass factory Ivan Konerev and the “architectural student” Pyotr Druzhinin the new glass technology. In 1753, Lomonosov received permission to set up his own glass factory, where he continued his experiments. Their result was the creation of a palette of colored and mosaic glass, consisting of 112 basic tones and more than 1000 shades.
At the beginning of the 19th century, the factory mastered the production of crystal. Crystal (from other Greek κρύσταλλος - ice) is a special type of glass containing at least 24% lead oxide. The addition of lead oxide increases the refractive index of glass and the dispersion of light in it (from a jewelry point of view - “play of color”, “fire”).
Mug with a lid with an acorn-shaped pommel. St. Petersburg. Imperial glass factory. First third of the 19th century. Colorless crystal; diamond face, grinding, polishing; bronze; casting, gilding.
Fragment. Mug with a lid with an acorn-shaped pommel. St. Petersburg. Imperial glass factory. First third of the 19th century.
The crystal products of the plant at that time reached such a pinnacle of craftsmanship that its works became diplomatic gifts and offerings to ruling persons. In the book "Glass" Kachalov reports that the Shah of Persia was presented with a pool and a bed made of crystal. And you can read this book in more detail.
The exposition presents products from such large sets as "Prigorodny Granny", "Bakhmetevsky", "Gothic" and some others. The green glass of the "Gothic" service fascinates and the eye will disappear into the mystical space of glass. And we will draw your attention to the "Cottage" service. These are items from the own glass service of the "Cottage" palace of the Alexandria dacha in Peterhof. The objects of the service are decorated with the coat of arms of the dacha, designed by the poet V.A. Zhukovsky. An emblem is placed in a blue shield: a wreath of white roses, through which a sword is threaded with the point up. The emblem is accompanied by the motto: "for the faith, the Tsar and the Fatherland."
Items from the private glass service of the "Cottage" palace of the Alexandria dacha in Peterhof. Imperial glass factory. 1827 - 1829 years. Colorless crystal with a blue overtone, diamond cut, gold and enamel painting. According to the drawing by I.A. Ivanova.
Items from the private glass service of the "Cottage" palace of the Alexandria dacha in Peterhof. Glasses and glasses.
Imperial glass factory. 1827 - 1829 years. Colorless crystal with a blue overtone, diamond cut, gold and enamel painting.
According to the drawing by I.A. Ivanova.
In 1815 - 1848 A.I. Ivanov held the position of inventor at the Imperial Glass Factory. The position of an inventor is an analogue of the chief artist, who is responsible for the appearance of all the products of the plant.
But the collection contains not only works of art made at the Imperial Glass Factory. In Russia since 1634 there were private glass factories. The most famous glass manufacturers were the Bakhmetyevs (the plant is known as "Bakhmetevsky" in Soviet time called "Red Giant"). The glass empire of the Maltsevs began its existence in 1730, in the 19th century they already owned 26 factories. In the collection you can see almost all the stylistic trends that were present at that time in production, as well as many innovations that mastered the glassworks.
A glass with a picture of a woman giving Cupid a bow and quivers. St. Petersburg. Workshop P.P. Semechkin and K.I. Terebenev. 1840s Violet (manganese) glass; faceting, printing, gold painting.
May 6, 1840 "Artists Provincial Secretary Terebenev and 14th class Semyachkin" received the privilege "to the method of lithography on faience, porcelain and glass over glaze" for a period of 10 years. The workshop produced items decorated with lithographed drawings. The plots of the drawings were varied, but portraits of members of the royal house were especially popular.
A glass with a portrait of Tsesarevna Grand Duchess Maria Alexandrovna. St. Petersburg. Workshop P.P. Semechkin and K.I. Terebenev. 1840s Colorless glass; printing, silver painting on paste, gilding.
Maria Alexandrovna (Maximiliana-Wilhelmina-August-Sophia-Maria, 1824 - 1880), Princess of Hesse-Darmstadt since 1855 Empress of All Russia, since 1841 wife of Emperor Alexander II. The source of the printed portrait was a lithograph made in 1841 by R.F. Dragunov in honor of the marriage of Grand Duke Alexander and Princess of Hesse-Darmshdat.
Glasses and goblets with plot images. St. Petersburg. Workshop P.P. Semechkin and K.I. Terebenev. 1840s Colorless glass; faceting, printing, gold painting.
During the existence of glass, many processing options were invented, and various types of it were created, including with the help of impurities that create different colors. For example, red glass is obtained by adding gold, violet - manganese oxide. You can get acquainted with all these wisdoms and tricks in the exhibition hall.
Vases paired with the monogram "AM" (?) under the imperial crown. St. Petersburg. Imperial glass factory.
Fragment. Vases paired with the monogram "AM" (?) under the imperial crown. St. Petersburg. Imperial glass factory.
1830s - 1840s Colorless crystal; cutting, engraving.
The exhibits presented in the hall will reveal to you many secrets of glassware and crystal processing. You will know that the "diamond edge" is so popular at the beginning of the 19th century appeared in England in the 1780s. The most widespread are the edges sharpened at an angle of 45 degrees by a wheel that produces wedge-shaped cuts. At the beginning of the 20th century, the number of variants of the “diamond edge” became so great that not only names, but also numbers began to appear in the price lists. Home distinguishing feature This "numbered edge" was that the ornament consisted of several simple elements.
Glass "Krestovsky Island". St. Petersburg. Imperial glass factory.
Mid 19th century. Colorless crystal; cutting, engraving.
Fragment. Glass "Krestovsky Island". St. Petersburg.
Imperial glass factory. Mid 19th century.
A jug in the shape of an aska. St. Petersburg. Imperial glass factory. 1830s (capacity).
St. Petersburg. Master K.G. Ekquist. 1830s (frame).
This jug is made in the form of an ask - an ancient ceramic vessel, widespread in the 6th - 4th centuries. BC. AT ancient Greece asci were much smaller and were used for incense. This form was popular in the 1830s as a response to the "Etruscan" trend, but fell out of fashion in more recent times.
Caviar bowl (?) with a lid. St. Petersburg. Imperial glass factory. 1840s (capacity) Moscow. 1847 (lid).
Uranium glass; faceting (caviar); silver; chasing, casting (lid).
On the silver there are hallmarks with the image of George the Victorious, in rectangular frames the initials and numbers "84" (silver sample), "IS" (master's name), "AK 1847" (mark of the assay master A.A. Kovalsky).
A huge number of objects of various eras, styles and techniques appears before the guest of the museum. You will plunge into the majestic Empire style, fabulous Russian style, airy and mysterious Art Nouveau. And you can see the white gold of kings - porcelain and compare it with glass. And it is worth visiting these exhibitions, if only because both of these enterprises were united in the 19th century under the name of the Imperial Porcelain and Glass Factory and existed until 1917.
For the exhibition, the museum prepared a catalog of the collection, unfortunately, it costs a lot of 3,500 rubles, and it will also not work to buy it for a cashless payment.
The exhibition will last until August 28, 2015.
Address: Red Square, 1. New exhibition hall.
Working hours: daily from 11:00 to 19:00, ticket office until 18:30. Thursday - from 11:00 to 21:00, ticket office until 20:00.
Day off - Tuesday
Ticket price: 200 rub. There are benefits.
The turn of the XIX - XX centuries takes place in Europe under the sign of a new style, which in different countries received various names: Art Nouveau - in France, Art Nouveau - in Germany, Secession - in Austria, Liberty - in Italy, Art Nouveau - in Russia. Everywhere the works of this style were distinguished by an innovative approach to form, interest in wildlife, and an appeal to new production technologies. Such a material as glass, with its transparency and fluid plasticity, with its inexhaustible palette of shades and textures, turned out to be surprisingly in tune with the Art Nouveau style and became one of the symbols of the new style. One of the main aesthetic ideas Art Nouveau - to make high art more accessible, that is, to find an alternative to the mass mechanized production of household items. This artistic program has received different incarnations in different countries.
Antique glass by René Lalique
occupies a special place in modern art. Rene Lalique(1860 - 1945). This artist became famous primarily as a jeweler, but glass played an important role in his work. He used it in his unrivaled jewelry, often ditching gemstones in favor of glass. In addition, René Lalique made lighting fixtures, vases, sculptures, perfume bottles and even car decorations. His works made of colorless and colored glass, frosted and transparent, sometimes using colored enamels, were distinguished by both monumentality and lightness, smoothness and originality of forms, and were no less popular than his jewelry.
Vase with the image of ivy. Rene Lalique. 1912
Source: http://www.kreml.ru/exhibitions/moscow-kremlin-exhibitions/iskusstvo-rene-lalika/
Glass Art Nouveau Emil Galle
The key figure for glassmaking in the Art Nouveau era was Emile Galle(1846 - 1904). His work refracted the traditions of European and Oriental art, giving rise to a completely new unique style, which combined deep symbolism, close attention to nature, an endless variety of techniques, amazing freedom and sophistication of form. Emile Galle was born in Nancy, small town in Lorraine, in the family of an entrepreneur who was engaged in trade and production of glass and faience. Emile Galle's career began with a family business. Later he collaborated with the factory "Burgun, Schwerer andToᵒ» in Meisenthal. Already in 1867, Galle created an art studio, and in 1894 he headed his own glass production in Nancy. If in early period Since Galle's creative work was mainly sketches of dishes made of transparent colorless glass with engraving or painting, then in his own atelier he begins a series of technological experiments. As a result, many new techniques were invented and patented, ancient technologies were revived, and an unprecedentedly diverse palette of colored glass shades was created. In 1882, Emile Gallé starts the production of laminated glass, which has become one of the symbols of Art Nouveau. Engraving was the most important element of the decoration of multi-layer products, which could be carried out mechanically (engraving with a wheel) or chemically (etching). Glass became the pinnacle of Halle's creativity "cameo" (cameo glass) - laminated glass, on which the image was applied using sequential layer-by-layer etching and carving using various tools. As a rule, flowers and plants (orchids, lilies, chrysanthemums, thistles, ferns) were depicted on vases using this technique, but there are also images of insects, marine life and other images borrowed from nature. The decorative decoration of such works has always had a symbolic and philosophical connotation. Halle even creates a new genre that combines glass and poetry: the so-called "talking glass" ”, where lines from poems by Baudelaire, Maeterlinck, Hugo were woven into the ornamentation of the vase.
Vase with the image of a magnolia flower. Halle manufactory 1900 Laminated glass, etched. GMZ Pavlovsk
Etching was also used to treat the entire surface of the glass. Exposure to various concentrations of acid in a solution could replace mechanical polishing, give a matting effect, or "frosty glass" (glass as if covered with a layer of frost). Acid etching made it possible to achieve greater smoothness of lines and softer outlines compared to mechanical engraving. Etching also made it possible to create circulation products, and in the 1890s Halle began mass production of laminated glass at his own enterprise. Halle's serial glass was named galle standard . Halle's unique invention was the technique glass marquetry (fr.marqueterie de verre- set of glass on glass), by analogy with the technique that has long been used to decorate furniture. Pieces of glass of various colors were placed on the walls of the vessel in hot form. Another technique patented by Halle is patination technique when the dust is different chemical composition applied to the glass surface between layers, thus achieving unusual color effects and refined gradations.
Vase with the image of cyclamen. Halle manufactory. Late 1890s Laminated glass, etching, marquetry on glass technique. State Museum ceramics and the Kuskovo Estate.
Source:Galle lines. European and Russian colored end laminated glassXIX- startXXcentury in the collections of Russian museums. Moscow 2013.
The main feature of Emile Galle's antique glass is the highest quality and virtuosity of execution, each of his works is an unsurpassed masterpiece. There are also a number of details that help determine if an antique Galle glass is genuine. Such details include a polished bottom, on which all the numerous layers of colored glass are visible. Of course, the signature (signature) of Emile Galle also plays an important role in attribution. He signed his works in the technique of engraving or etching, but the signature changed both during the life of the artist and after his death (serial production of Galle vases continued its work until the 1930s). Currently, the rights to the Galle brand are owned by the Coman design plant located in Romania. Their products are of high quality and artistic value, but are hardly of interest to the collector. antique glass. In the labeling of these products, next to the name "Galle" there is the word "tip".
Vase with anemones. Emile Gallé, 1900 Laminated glass, marquetry on glass technique, engraved. State Hermitage.
Source: Halle Lines. European and Russian colored laminated glass of the late 19th - early 20th centuries in the collections of Russian museums. Moscow 2013.
Followers, Seekers, Experimenters
The unique work of Emile Galle gave rise to many followers, forming the Nancy school, which became the leader for the entire modern era. The first followers of Halle were the masters of the factory in Meisenthal, with whom the artist collaborated for a long time - Desiree Christian and Eugene Kremer. An important place in the art of that period was occupied by firm "Legra and Kᵒ". hallmark Legr's glass was widely used, along with engraving and etching, painting with enamels and gold, as well as the extraordinary brightness and variety of shades of glass masses. Undoubtedly, one of the recognized leaders of artistic glassmaking of that time was firm of the Dom brothers (Auguste Dom and Antonin Dom). Among artistic techniques used in their works, the following techniques are especially worth noting: technique colored crumbs , in which glass chips of various colors were applied to the product in hot form; technique pat de ver (fr.pâte-de-verre - glass paste), in which details were created for decorating multilayer vases, as well as a widely used technique martel (fr.martele - forged), that is, an imitation of a forged texture on glass.
Vase with anemones. Manufactory of the Dom brothers, 1910 Laminated glass, etching. GMZ Pavlovsk.
Source: Halle Lines. European and Russian colored laminated glass of the late 19th - early 20th centuries in the collections of Russian museums. Moscow 2013
The influence of Emile Galle and the Nancy school was so great that it was not limited to France. Antique glass is an example. by Ludwig Moser & Sons in the Czech Republic, and firm "Costa" in Sweden, in which the features of Halle's creativity and the ideas of modernity were refracted in a peculiar way. Russian glass factories were no exception, and they also responded to new trends in European art.
Russian glass Modern
AT late XIX century Imperial Glass Factory (ISZ) experienced hard times, and to reduce costs was merged with the Imperial Porcelain Factory. Nevertheless, ISZ still remained one of the largest glass productions in Russia and produced the highest class products. Shortly after the famous world exhibition 1889 in Paris, where Émile Galle first demonstrated his laminated glass vases, ISZ also begins to create similar works.
Vase. Imperial Porcelain and Glass factories. 1897 Colored glass, crackle technique.
Source:T. A. Malinina. Imperial glass factory.XVIII- StartXXcentury. St. Petersburg: 2009.
In addition, at the turn of the century, ISZ produced thick-walled colored glass vases decorated using techniques such as millefiori (ital.millefiori- a thousand flowers) in which many glass tubes of various colors were cut across and fused into the thickness of the vessel in the form of thin plates, crackle (fr.craqueler- covered with cracks- glass with cracks on the surface, as well as glass with the inclusion of metallic spangles in the mass.
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Vase with the image of a snake in the thickets of clover. Imperial Porcelain and Glass factories. According to the drawing by K. Krasovsky. 1897 Two-layer glass, carving, engraving.
The Moscow Kremlin Museums have a rich collection of Russian engraved glass and crystal of the 17th-early 20th centuries and interesting examples of domestic porcelain of the 18th-19th centuries.
Glass production was one of the first branches of the Russian art industry that emerged at the turn of the 17th-18th centuries. The leading role in the formation of the national school belonged to the Izmailovsky State Plant in Moscow. The Kremlin museums have unique products of this plant. This is a huge goblet made of light glass with engraved images of Peter I, surrounded by medallions with allegories from the popular Russian book “Symbols and Emblems”.
In the second decade of the 18th century, the center of glassmaking moved to St. Petersburg and concentrated on the Yamburg and Zhabinsky factories. Russians became the leading masters here for the first time. The products of the Yamburg plant are represented in the collection by goblets associated with the era of Peter the Great.
In the 30s of the XVIII century, the third center of glass production was formed - the St. Petersburg plant, which existed until 1774. His products testify to the flourishing of the national school of engraved glass, associated with the activities of the two largest masters - V. Pivovarov and D. Voilokov. Their work is large goblets with portraits of Elizabeth Petrovna and Catherine II. The carvers of the plant in the 40s-70s of the 18th century engraved coats of arms and monograms, architectural landscapes, and complex allegorical compositions on glass. They enhanced the decorativeness of engravings with blackening, gilding, and colored enamels.
In the collection, next to the magnificent works of the St. Petersburg factory, there are more modest products of private enterprises.
The Kremlin Museums have samples of products from the Imperial Glass Factory, founded in 1774, the fourth center of glass production. These are vases made of red glass, the so-called golden ruby, with a slight gold ornament, and of violet glass, which has a rare shade of rich black in massive thick-walled vessels.
At the beginning of the 19th century, lead crystal appeared and various mechanical methods for its processing appeared. The masters of the era of late classicism had a keenly developed sense of the ensemble. That's why great importance was given to the creation of glass and crystal sets, united by a common idea. The Imperial and Bakhmetevsky (near Penza) factories worked on their production.
To mid-nineteenth century, colored glass was revived. First, in the form of a ruby red on a colorless layer. Then products of saturated colors appeared - dense green, dark blue, and at the end of the 19th century the so-called marble glass.
Until the end of the 18th century, the shape and ornamentation of the products corresponded to the Baroque style. Elements of the rocaille Ornament were only partly introduced. The style of classicism, established at the end of the 18th century, received special expressiveness in colored glass.
The 70s-90s of the 19th century were characterized by an appeal to the forms and ornamentation of folk glass in connection with the popularity of the pseudo-Russian style.
The activities of the glass manufacturers Maltsevs, who became monopolists in crystal production, reached an extraordinary scale. Crystal of the late XIX - early XX century distinguishes high quality material and virtuosic work of diamond miners. Very often, crystal products were set in silver, which emphasized the preciousness of the material.
The Kremlin museums display a small but interesting collection of Russian porcelain from the Imperial Factory and private enterprises.
The pride of the museum are products associated with the first period of the Imperial Factory (1747-1765). They are decorated with stucco floral decoration and painting with plant motifs oriental character. The artistic merit of works is the individuality of performance.
The products of the Imperial Factory of the 19th century are represented by individual items in the Greek style, the “Kremlin” service in pseudo-Russian style and vases painted by the artist Stoletov. These vases are rare for Russian porcelain examples of miniature copies of easel paintings.
The first private porcelain enterprise, founded in the 18th century, was the f. Gardner (Verbilki village near Moscow). An interesting phenomenon in porcelain art was the creation of famous order services at this factory. Unlike the Imperial Factory, Gardner developed folk theme; folk scenes were depicted in the painting, folk types were created in plastic.
Following Gardner, democratic tendencies in Russian porcelain of the 19th century were developed by A. Popov's factories and Gzhel porcelain enterprises. From a luxury item, porcelain has become a widespread material. Porcelain painting subjects were very diverse. The craftsmen of these factories repeated illustrations of fashion magazines in painting, reproduced genre scenes, but most often covered products with floral ornaments, which was characteristic feature Russian porcelain.
At the end of the 19th century, many factories went bankrupt, the production of porcelain was monopolized by the partnership of M. S. Kuznetsov, whose porcelain became really industrial-mass in those days.
But in the works of the Imperial Factory and the factory of the Kornilov brothers in St. Petersburg, porcelain again acquired the sound of a precious material. Their products reflected the high technical achievements of porcelain art.
This selection includes the best examples of glass and porcelain items of the 18th - early 20th centuries, stored in the funds of the Armory.
In the 17th century, the intensive development of crafts led to the emergence of the first manufactories. The growth of commodity production contributed to the revival of trade, linking previously isolated economic regions into a system of a single all-Russian market. The reunification of Russia with Ukraine and Belarus was an event of great political significance. It contributed to the expansion of ties between Muscovite Rus and the countries of Europe.
In the Russian life of the 17th century, the need for a new hygienic and beautiful material was already felt. The first who took up the production of glass in Russia was a cannon maker, a Swede, Julius Koyet, who arrived in Moscow on March 2, 1630. In 1632, he invited the experienced "glass" craftsman Paul Kunkel, who had previously "started" a glass factory in Sweden, to cooperate. He helped to choose a place for the future plant, and in 1634 Koyet received a charter to "establish" a glass factory in the village of Dukhanino, Dmitrovsky district (not far from Moscow). The production developed in difficult financial conditions, changed quite a few owners, and was finally closed in 1760, when the craftsmen "by their own petition" and the decision of the Manufactory College were assigned to Akim Maltsov's Gusevsky plant.
The fate of another private glass factory built by the Swede Ivan (Johann) von Sveden in the Ivanovo volost of the Kashirsky district was unsuccessful. In 1666, he brought from overseas, among other specialists, "crystal and Vinitsa glassware craftsmen." But in 1668, the owner died without completing the construction of the "Vinitsa glassware factory", although in 1697 its buildings still existed.
An outstanding role in the history of Russian artistic glassmaking was played by the plant, founded in 1668 on the initiative of Tsar Alexei Mikhailovich in the village of Izmailovo near Moscow (now the territory of Moscow). It was here that Russian artistic glass was born, and the school of Russian glassmaking was created. In this complex process, along with Russian and Ukrainian masters, foreign specialists also took part. Many of them have lived in Russia almost all their lives and found a second home here. The plant was built in 1668 by decree of Tsar Alexei Mikhailovich, was under the control of the Secret Order, then the order of the Great Court, and in 1710 was transferred to the Aptekarsky Order and soon after that was closed. This enterprise produced “amusing and figured glass about the use of the great sovereign”, “crystal” (i.e., very clear colorless glass) dishes with engraving and gilding, simple products made of colorless and green glass, and after 1710 - pharmaceutical dishes .
Information about another Russian glass factory of the 17th century, located in the village of Voskresensky, Chernogolovskaya volost, is extremely scarce. Neither the dates of its existence nor the nature of production are known. Data about him refer only to 1687, when he was already operating and his products were sold at the Moscow Gostiny Dvor. Among the products of the plant were glasses, brothers, lamps. Apparently, it was a kind of branch of the Izmailovsky plant, since their products are listed in one inventory of the village of Izmailovo.
Thus, at the end of the 17th century, there were three glass factories near Moscow, which, despite their modest size, could not provide the whole country with glass.
In 1691, the construction of another state-owned glass factory was undertaken. Its device was entrusted to the “trading man of the living room of a hundred” Yakov Romanov, who built the premises for the plant at the Tainitsky Gates in Moscow. But this attempt ended in complete failure, since Romanov was unable to find craftsmen and establish production.
After that, the Moscow administration started the construction of a new mirror factory, Vorobyevsky, inviting "commissar" Brockhausen from Berlin for this purpose. He arrived in Moscow in 1705, along with six French "mirror" masters hired by him, and possibly brought some of the equipment with him. In 1706, the plant was already operating, albeit with interruptions. Visiting craftsmen, apparently, did not immediately adapt to local raw materials. The dimensions of the mirrors, which are quite significant for the 18th century, are unusual: some of them reached four arshins in length and two in width; many were in glass frames. The end of the activity of this plant was very instructive. In 1710, it was leased to Willim Leid under the patronage of A.D. Menshikov. In 1712, Leid received a large order for the execution of "large, medium and smaller hands of bells and 330 carafins" for a total of 126 rubles. However, the order was partially fulfilled, and during the investigation it turned out that the factory's tools were hidden in the German Quarter in the yard of the teacher Andrey Martynov. These tools and the materials remaining at the plant were sent to St. Petersburg on 10 carts, accompanied by dragoons.
From 1706 to 1718, 9 small enterprises were built in the Trubchevsky, Sevsky and Karachevsky counties (now the Bryansk region). Produced here "slo simple with bubbles" and "white and simple slo".
The 18th century is a time of active development of Russian glassmaking. New production centers are being formed, which retained their leading position throughout the 19th and 20th centuries.
I. Petersburg
At the beginning of the XVIII century, the formation of the St. Petersburg center of glassmaking begins, with which the magnificent flowering of the Russian school of engraved glass is associated.
Yamburg and Zhabinsky factories.
Initially, factories were opened in the city of Yamburg and in the village of Zhabine, Yamburg district. It was possible to find a message that in 1705 master Sheper, together with master Kifater, examined “pleasant places to blow glass near the village of Syabino, 12 versts below Yamburkh.” They recognized the place as very suitable, and master Kifater drew up a plant project. Menshikov was mentioned in 1717 as the property of A.D. Menshikov, who thought to give them at the mercy of “eager people.” Both plants were owned by Menshikov, since among the huge land grants in Ingermanland, he was given the city of Yamburg and its environs. Opals A.D. Menshikov enterprises went to the state treasury.The Yamburg plant was larger than Zhabinsky and more perfect in organization of production.It produced mirror and window glass, as well as "crystal dishes" with polishing and engraving, which accounted for almost a third of all products.Since 1713 For a year, the foreign master Johann Mennart was engaged in the engraving of dishes, who left his craft in 1723 due to an eye disease. Russian engravers - apprentices Dementy Voilokov and Vasily Pivovarov, who eventually became outstanding masters. The Yamburg factories mainly served the palace economy, supplying window panes, mirrors and "crystal" dishes for the royal residences under construction. Some of the products were sold at the factories themselves and in the palace shop. At the end of 1730, the demand for mirrors and glass declined. This is explained by the fact that Emperor Peter II temporarily transferred the royal residence to Moscow (1727-1730). In 1730, the factories were leased to the English merchant Willim Elmsel, who in 1733-1735 transferred equipment and craftsmen to his own factories in St. Petersburg and on the Lava River.
Petersburg glass factory
The history of the St. Petersburg State Factory, which was the leader of Russian glassmaking throughout the 18th century, began somewhat unusually. For the first time about its existence on the Fontanka River, almost in the center of St. Petersburg, they learned in 1738, when its founder V. Elmzel died. It also turned out that the tools and craftsmen of the Yamburg factory were transferred here. Judging by the inventories, it was not a glass factory proper, but rather a workshop where they only cut, polished and engraved glass products, but they also blown glass at the Lavinsky factories. After both plants were transferred to the treasury, Petersburg gradually becomes a plant in the full sense of the word. Dishes were blown on it, mirror glasses were poured and they were immediately polished and engraved. Part of the production was carried out by order of the royal court, the other went on sale. They traded glass in a shop on Nevsky Prospekt, as well as directly at the factory.
In 1774, the plant itself was transferred to the village of Nazya, Shlisselburg district, and a workshop was left in St. Petersburg for “polishing dishes and cutting coats of arms and monograms on it.” But even in 1780 this decision was not implemented. Thus, the history of the St. Petersburg plant shows that the common practice in Europe of separating the production of tableware and its cold processing, despite its obvious benefits, did not take shape in Russia.
Quite a lot of products of the Petersburg factory have been preserved. Basically, these are carved goblets, glasses, glasses, shtofs, teapots. They clearly testify to the flourishing of the engraving art at that time. The carvers of the plant could engrave on glass not only coats of arms and monograms. They did an excellent job with complex rocaille ornaments, architectural landscapes, portraits and allegorical compositions, gallant and pastoral scenes. Each of the engravers had their favorite themes and characteristic methods of work. From all this, a unique image of the art glass of the St. Petersburg plant is formed. The presence of foreign carvers at the factory was inevitably reflected in the nature of the carved decor, in many respects close to Bohemian, Silesian and partly Saxon. This "clash" of different schools also gave the glass of the St. Petersburg factory its originality.
In 1777, by decree of Catherine II, the state-owned factories in the village of Nazia (former Petersburg) were given “for particular maintenance to the illustrious prince” G.A. Potemkin, who turned out to be a generous and attentive host. The prince transferred the plant to the lands of the monastery of St. Alexander Nevsky in the village of Ozerki, which is four miles from St. Petersburg. After the death of G.A. Potemkin in 1792, the plant was again taken over by the treasury and became known as the Imperial. It has always remained the largest and most equipped glass production in Russia, a true "trendsetter of glass fashion".