Églomisé
Églomisé (French: Verre églomisé , eglomosed glass, it: agglomizzato ), also called glass etching, gold etching, reverse glass etching, is a special variant of reverse glass painting , in which deposited gold leaf or other metal foils as well as etching techniques are used.
Surname
The name, which is said to have been coined in 1825 by the French archaeologist Carrand, goes back to the French painter and art dealer Jean-Baptiste Glomy (1711–1786), who used this technique in the 18th century to lay behind glass and frame graphics, see above that a passe-partout effect was created.
techniques
Different processes in the manufacturing process with different effects are possible:
- The glass surface is first glued on the back with metal foil (mostly gold leaf ). Lines or hatchings are drawn into these with an eraser needle or larger areas are scraped away. Then the whole side that has been worked on is covered with black (or colored) varnish, so that when viewed from the front, the drawing appears on a gold background.
- The reverse sequence of steps begins with a mostly black coating of the back of the glass, from which ornaments, images or lettering are scratched out, which are then backed or glued with smooth or creased metal foil (gold leaf, silver foil, tinfoil ). Here the exposed lines and surfaces appear shiny metallic. This technique was used for signs in the 19th century.
Both techniques can also be combined, the procedure is accordingly multi-step.
- The Eglomisé also includes objects in which the right side of the painted tin foil is firmly attached to the glass from behind and retains its fresh shine for as long.
history
_und_ihre_Kinder.jpg)
Some rare and early examples with intermediate gold glasses have been handed down from late antiquity, such as the famous family picture in the museum in Brescia . Knowledge of similar techniques does not seem to have been lost in the European Middle Ages, as Theophilus Presbyter described them around 1110. In Italy, Niccolò Pisano (1225–1278) provided the pulpit in the cathedral of Siena with decorative strips from Églomisé, which is usually used on smaller liturgical implements is applied. In the 172nd chapter of his painting treatise, written around 1400, Cennino Cennini describes the technique of gold etching in combination with colored reverse glass painting. Few examples of this delicate material have survived from the Middle Ages. An extremely valuable example from the late Middle Ages is the host bowl from Freising , which was only made known in 2008 and attributed to Hans Wertinger . This and the few other pieces of the time show an increasingly colored, less gold etching based reverse glass painting, but the technique in the glazier trade was not completely lost in the 17th century.
In the first half of the 18th century, the ancient technique of intermediate gold glasses was taken up again. Towards the end of the century, when classicism in handicrafts was again more cautious with color, the pictorial execution of glass etchings in gold and black had developed into a fashion that was both in highly specialized workshops in Bohemia, France, Italy and southern Germany as well as by artisans Amateur was practiced. Black silhouetted portraits on a golden background were widespread, as were Eglomisé inlays in jewelry rings, etched in miniature. In the 19th and 20th centuries, the process was often used for large company and shop signs, where lettering was scraped from the deposited lacquer and backed with metal foil. With the help of spray paint and adhesive films, which are easier to cut out by the graphic artist, a very similar procedure is still used today, but only rarely with the use of metal or gold leaf, which are more difficult to handle. In any case, the term eglomisé is only used today for handicrafts.
Individual evidence
- ^ Herder's Konversationslexikon, 3rd edition, Vol. 2, Freiburg 1903, Col. 1643
- ↑ Steinbrucker: Églomisé , p. 749 with corresponding sources.
- ↑ Steinbrucker: Églomisé , p. 749
- ↑ With German translation by Ritz, Hinterglasmalerei, p. 54.
- ↑ Georg Swarzenski: The appearance of the Eglomisé with Nicolo Pisano , Festschrift Paul Clemen, Düsseldorf 1926, pp. 326–28. Ders .: The localization of medieval verre eglomisé in the Walters collection. In: The journal of the Walters Art Gallery, Vol. 3, 1940, pp. 55-68.
- ^ Ritz, reverse glass painting, p. 8.
- ^ In German translation by Ritz, Hinterglasmalerei, pp. 54–55.
- ↑ Cloisters , Inv. No. 2008.278. Fritz Koreny, "An unknown masterpiece of old German glass art: Hans Wertinger's glass host bowl from 1498," in: RIHA Journal 0007 (August 25, 2010), digital . A picture of the bowl is also available in the online database of the Metropolitan Museum, with the option of enlarging the details (enter "Wertinger" as the keyword): [1]
- ↑ Ritz. Reverse glass painting , p. 9.
- ↑ z. B. glass hanging signs are welcome at the Bremen Glaseramt , see Alfred Löhr: Altes Bremer Silber , Bremen o. J. [1980], pp. 36–37 with illus.
- ↑ Wolfgang Brückner: Hinterglasradierungen and Eglomisébilder in: W. Brückner and Wolfgang Schneider: Hinterglasbilder , Würzburg 1990, pp. 30–33.
literature
- Charlotte Steinbrucker: Eglomisé , in: Reallexikon zur Deutschen Kunstgeschichte, Vol. IV (1956), Col. 749–750; also digital in: RDK Labor, Eglomisè [25. February 2016]
- WB Honey: Verre Eglomisé , in: The Connoisseur XCII, 1933, pp. 372-382.
- Georg Swarzenski: The localization of medieval verre eglomisé in the Walters collection , in: The Journal of the Walters Art Gallery, Vol. 3, 1940, pp. 55-68.
- F. Zauchi Roppo: Vetri Paleocristiani a figure d'oro , Bologna 1969.
- Gislind M. Ritz: Hinterglasmalerei , Munich 1972, pp. 8–9, 54–60.
- Wolfgang Steiner u. a .: Gold shine and silver splendor . Munich: Deutscher Kunstverlag, 2015. (On Amelierung and Églomisé).
