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Verre églomisé [vɛʁ e.ɡlɔ.mi.ze] is a French term referring to the process of applying both a design and gilding onto the rear face of glass to produce a mirror finish. The name is derived from the 18th-century French decorator and art-dealer Jean-Baptiste Glomy [ 1 ] (1711–1786), who was responsible for its revival.
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 ...
The most common method of adding the black linear painting necessary to define stained glass images is the use of what is variously called "glass paint", "vitreous paint", or "grisaille paint". This was applied as a mixture of powdered glass, iron or rust filings to give a black colour, clay, and oil, vinegar or water for a brushable texture ...
The process of silver staining also was developed. The outside of the glass would have coloring of silver stain, while the artist painted the figures on the inside. The artist could employ several different colors and shades on a single pane of glass. [20] The techniques of painting on the glass also improved.
Detail of 12th-century stained glass window in Strasbourg Cathedral; black and white paint has been used on the coloured glass. Secondly it refers to stained glass, used for windows. Here the design is made up using sheets of coloured glass, cut to shape and held in place by lead. The painting is the final stage, typically only in black. [2]
Unlike the glass art of the Art Nouveau in France, the Secession glass designs were geometric and abstract, without the curving lines and natural forms of the earlier style. Leopold Forstner was an important artist in this domain, working closely with Otto Wagner and other architects.
The principal methods of this are enamelled glass, essentially a technique for painting patterns or images, used for both glass vessels and on stained glass, and glass paint, typically in black, and silver stain, giving yellows to oranges on stained glass. All of these are fired in a kiln or furnace to fix them, and can be extremely durable ...
One of the most prestigious stained glass commissions of the 19th century, the re-glazing of the 13th-century east window of Lincoln Cathedral, Ward and Nixon, 1855. A revival of the art and craft of stained-glass window manufacture took place in early 19th-century Britain, beginning with an armorial window created by Thomas Willement in 1811–12. [1]
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