Imre Jakabffy (szerk.): Ars Decorativa 8. (Budapest, 1984)

VARGA, Vera: Art Nouveau art glasses

VERA VARGA ART NOUVEAU ART GLASSES The development of art glass (sometimes called ornamental glass) begins at the second half of the 19th century, in France and is closely connected with the name of Eugène Rousseau and Emile Gallé. We can't consider accidental the fact, that the first widerange demonstration, which attracted serious attention, of both artists took place at the Exhibition of l'Union Centrale in 1878.

1 The works of these two artists, presented there, show rather clearly the effect of French opaline glass, continuing its traditional colouring. Later both artists arrive at different results, choosing different ways of design and execution. Rousseau's aim was much simpler and more practical, he wanted to perfect the glass decorating and colouring technics, he created different kinds of enamels, certain types of crackle glass, decorated with foils, intaglio engraving and delicate surface effections. The Bamboo vase shows the very rich combination of Rousseau's technics, it is his most prominent and characteristic work (Musée des Arts Décoratifs, Paris). The middle section is decorated with enamel flower patterns in different shapes, the main body with engraved and polished bamboo leaves pattern. In contradiction to the technical approach of Rousseau, Gallé — sometimes carrying his ideas too far — consciously endeavoured to create the type „art glass", that he regarded as a work of art of full value. At the beginning of his activity Gallé had very definite ideas about the real way of glassmaking: the glass had to be absolutely clear and transparent, only very slightly coloured, having the traditional forms, only slightly differing from classical examples. The effects, resulted by the use of hydrofluoric acid are considered rough and vulgar by Gallé. There is a perfect contradiction between the early views of Gallé about glassmaking and his works, shown at the Paris Exhibition of 1900 and this fact seems to show us a great change of Gallé's theoretical and empirical activity, as well. These theories — which had been developing between 1884—89 — became the leading conceptions of French Art Nouveau, meaning revolutionary changes not only in the ambitions of glassmaking, but in other fields of applied arts and occasionally of fine arts, as well. We have to examine in the first place Gallé's connection with nature, in the de101