Reviews on Nº 4 2015

2015 ICOM Glass Meeting Lectures: ICOM’s 23rd General Conference in Rio de Janeiro, Brazil, and ICOM Glass Annual GLASS Meeting in Bratislava, Slovakia, 2013

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ICOM INTERNATIONAL COMMITTEE FOR MUSEUMS AND COLLECTIONS OF GLASS http://network.icom.museum/glass

Editorial and Board Members Reino Liefkes. Chair Teresa Medici. Secretary Sven Hauschke. Treasurer Anne Vanlatum Kaisa Koivisto Katarina Be ová ň Elvira Schuartz Milan Hlaves Paloma Pastor

English text correction Amy McHygh Reino Liefkes

Coordinator of this journal Paloma Pastor

Cover illustration Tobias Møhl, Glassweaver vessel, 2011. Photo: Poul Ib Henriksen

Back cover Illustration Finn Lynggaard, Vase, 1972. Photo: Klemp&Woldbye

Layout Cyan, Proyectos Editoriales, S.A.

© 2015 ICOM Glass and authors

ISSN: 2227-1317

Journal sponsored by ICOM. International Council of Museums

No part of this magazine may be used or reproduced without the written permission of the publisher. ICOM Glass can not accept any responsibility for errors or inaccuracies in the information.

Inside wiew of Basilica of Our Lady Aparecida. São Paulo, Brazil. Photo: Egidio S. Toda, 2012.

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Lectures 6 Papers presented at ICOM’s 23rd General Conference in Rio de Janeiro, Brazil, 2013 6 Casa Conrado: one hundred years of Brazilian stained glass 11 Rosaceas, Basilica of Our Lady of Aparecida 16 Museum of Glass: contemplation, interaction and interactive environments in modern art 20 Research on twentieth-century stained glass in Rio Grance do Sul, Brazil 24 Icom Glass Conference in Bratislava 27 Danish Studio Glass —a portrait 38 48

News 38 Book Review 43 Memories Congresses & Exhibitions 45 News 50

Members

review_on_glass_4.indd 3 11/02/16 08:09 review_on_glass_4.indd 4 11/02/16 08:09 FOREWORD

Dear Colleagues and Friends,

It is a pleasure to present the fourth Issue of Reviews on Glass, the official on-line publication of the ICOM International Glass Committee. In this publication we present news of the activities of our Committee and provide a forum for our members to share common issues and remain up to date with the latest developments in our field.

In 2015, we held our annual meeting in Fribourg, Switzerland (7 – 13 September 2015), to coincide with the 20th Congress of the International Association for the History of Glass (AIHV). It was a long time since our two organisations met together and it was an excellent opportunity to catch up with glass colleagues from all over the world, to meet old friends and to make new contacts and to hear about the latest in glass research. The congress was attended by over 250 participants from 32 countries. The participants were glass-historians, academics, museum professionals, archaeologists, scientists, collectors and dealers. The ICOM International Glass Committee, represented by 34 members from 14 countries, joined the AIHV programme. In addition we held our General Assembly on Tuesday 8th September in the evening, and we organised an additional day-trip to Zurich for ICOM members exclusively, on Monday 14th September. Our visit to Zurich was kindly organised by our members Christine Keller and Heidi Amrein, both of the National Museum of Switzerland, and Sabine Flaschberger of the Museum Bellerive.

In this issue we publish a selection of the papers presented at ICOM’s 23rd General Conference (August 10–17, 2013) in Rio de Janeiro, Brazil, in which we explored the theme of Museums (memory + creativity = social change). I am particularly pleased to include a good number of articles on stained glass windows in Brazil, a part of the countries cultural heritage which has so far not attracted enough international attention. This fragile craft was brought to Brazil by artists trained in Europe and their work has only since recent years become a subject of serious study and systematic surveys. Also in 2013, we held our annual meeting in Bratislava, Slovakia. Our lecture programme there had the dual topic ‘What is the future for contemporary studio glass and new discoveries in Slovak glass’. We are especially pleased to include a selection of papers prepared by the hosting, Slovak, participants. These highlight the glass collections in the Slovak National Gallery and the Bratislava City Gallery and present an overview of Slovak folk glass, as well as anonymous (designed glass) from the cold-war period and contemporary Slovak art glass.

I would like to thank all those speakers who have taken the effort to turn their spoken papers into wonderfully illustrated published text. Finally I would like to take the opportunity to thank Paloma Pastor and Amy McHugh for editing and putting together this wonderful issue.

Reino Liefkes, Chairperson ICOM International Glass Committee

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Casa Conrado:

Zoology Museum, University of São Paulo, Brazil. Photo: Denise Michelotti, 2006.

review_on_glass_4.indd 6 11/02/16 08:09 LECTURES In this issue we publish a selection of the papers presented at ICOM’s 23rd General Conference in Rio de Janeiro, Brazil, 2013, in which we explored the theme of Museums (memory + creativity = social change). Casa Conrado: one hundred years of Brazilian stained glass

Regina Lara Silveira Mello. Mackenzie Presbyterian University - Brazil and VICARTE

Conrado Sorgenicht, the pioneer Conrado Sorgenicht, an artisan replicas, and decorative bands. In from Essen, North Germany – a 1889 he began creating stained Brazilian stained glass history place with many immense Gothic glass windows. The family grew begins in the late nineteenth cathedrals. He arrived with his and three generations of stained century with the arrival of wife and four children in glass specialists followed: father, Cananéia, on the south coast of son, and grandson under the the state of São Paulo, Brazil, same name, Conrado Sorgenicht. after fleeing from the Franco- In a hundred years of work more Prussian War. He wanted to live than 600 sets of stained glass in a warm country to treat his panels in the entire country were rheumatism. The bright light of created; mostly produced in the the tropics impressed him greatly, state of São Paulo, but there are as he described in letters and significant examples also in the personal writings. His states of Rio de Janeiro and enchantment with the sunlight Minas Gerais. seemed to make the colors of glass even more intense, instigating his desire to bring the Researching the Casa Conrado Casa Conrado Signature, Octavio art of stained glass to Brazil. He stained glass Vecchi Forest Museum, São Paulo, set up his studio in the city of Brasil. Photo: Regina Lara, 2011. São Paulo, where he first worked Knowing the history of Casa with wall paintings, wooden Conrado led to further research,

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and how it began in Brazil, especially at the Casa Conrado studio. This study brings together important information about the construction of specific parameters delimiting the preservation of this art form that is going extinct.

Unique aspects

Among the most interesting attributes of Casa Conrado is the relationship established between architecture and visual art, primarily painting. The Sorgenichts, that is Son and Grandson, always worked with Brazilian painters. During the creation and production of a Octavio Vecchi Forest Museum, São Paulo, Brazil. Photo: Regina Lara, 2011. stained glass panel it is up to the specialist to technically and aesthetically orchestrate variants such as: analyzing the artist since Conrado Sorgenicht Neto the studio was coordinated by graphic drawing style, is my maternal grandfather. I Conrado Sorgenicht Filho (son) determining the glass cut, had the opportunity of visiting and the second from 1950 to turning the lead that connects his studio where I did some 1965, the heyday of Conrad the colored pieces, setting the glass and ceramics pieces. I Sorgenicht Neto (grandson). closest glass colors to their photographed many stained glass Eight panels were especially desired palette together with the windows in order to produce an selected for analysis, artist, choosing and developing album that showcased the highlighting relevant aspects in appropriate themes, allegories, studio’s creations. For my the architectural script, and general cohesion, master’s degree I carried out a implementation, approaches to relating the stained glass to the study of the growth, painting, and partnerships with architectural project for that it development, and decline of the architects and artists. The was intended. Besides the studio, which resulted in the trajectory of the studio painters that were recognized by dissertation Casa Conrado: one productions is marked by the art world, the studio kept its hundred years of stained glass historical events, especially in own designers; they contributed Brazilian (UNICAMP, 1996). One the city of São Paulo, to the development of a hundred and forty-five stained interconnecting the Casa procedure based on the practice glass sets were located, in which Conrado to the city itself. The of adapting paintings to stained two particularly fruitful periods analysis of this information glass. The “Veneration of St. were identified. The first period enables us to understand stained Vincent”, from the Portuguese was from 1920 to 1935 when glass art in the broadest sense, Renaissance painter Nuno

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Gonçalves was transformed into between the community and the stained glass and placed in the stained glass windows set in Grand Hall of the ‘Beneficiência public buildings, we must Portuguesa de São Paulo’ observe use and occupancy over hospital. This special procedure a period of time. is visible in the large production of Casa Conrado, which always We have analyzed a few sets of tried to transpose the language stained glass windows that were of painting to stained glass, created for public buildings and revealing its creative freedom, we observed those that far from the ready-made models maintained the same function from Europe or North America. for decades, respecting the original program for use and The community goes into occupation, established a strong spaces where there are stained emotional bond with members of glass windows the community as they came and went. The guiding architectural Window panels can be design certainly influenced or manufactured for private homes even determined the choice of or set in public buildings. Most of reference images and type of the Casa Conrado creations are in window, door and skylight Christian churches; by constantly framing. It was observed that the The banana harvest, Municipal ordering new stained glass people belonging to these Market of São Paulo, Brazil. Photo: windows and restoring the old communities recognized and Regina Lara, 2011. ones, they kept the Studio alive appreciated stained glass art and for many years. Creations for they contributed to preserving public buildings were quite the collections. For example, in (Mello, 1996). The images varied: stained glass can be the Municipal Market of São illustrate the banana harvest in found in hospitals, markets, Paulo (Mercado Municipal) the market and passing right schools, museums, and among scenes of Brazilian agriculture in next to the viewer are the carts other places. Whether or not he the early twentieth-century were with actual bunches of real accepted architects’ and builders’ portrayed. The market was built bananas, confirming the suggestions, the homeowner on the Tamanduateí riverbank for function the building has could choose the theme and style the purpose of supplying São maintained since its opening to of stained glass he planned to Paulo’s inhabitants with the present day. These stained order, adapting his wishes and vegetables and fruits produced glass windows are constantly imagination to the creative by small farmers on the river being restored and valued by possibilities of the Studio. In margins. Created by Casa tourist snapshots or used in film Christian churches, stained glass Conrado in 1933, the market sets. A recent renovation project generally follows a religious stained glass window was based carried out inside the market theme such as the consecration on photos taken by Conrado created a mezzanine for of a saint or a visual depiction of Sorgenicht Son and Grandson restaurants; the panels were miracles; the faithful relate to the during a countryside trip; with target of heated discussions, images that support their beliefs. the aim of recording local which resulted in preserving To understand the relationship produce farming at the time their original location, valuing

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1931, with the museum being established in 1977), and the Brazilian Art Museum FAAP - Fundação Armando Alvares Penteado with a huge stained glass panel especially created by Brazilian artists and executed by Casa Conrado (1947 building, museum established in 1961).

Some of these windows have been studied in the research I carried out on the Casa Conrado’s history. Unfortunately, analyzing the The banana harvest, Municipal Market of São Paulo, Brazil. Photo: Regina Lara, 2011. stained glasses set in museum buildings, considering the use of the building in relation to stained relate to specific museum glass themes, such as those that Some significant contents, similar to what was illustrate plants, animals, specific witnessed in the market. Some content as allegories related to stained glass significant stained glass windows medicine, or fire fighting are a windows in the in the city of São Paulo are still constant instigating challenge. being researched: the Historical city of São Paulo Memory Center of the Fire We believe that the community Department (1927), Octavio experience with images gives are still being Vecchi Forest Museum (1930), meaning to the environment, which João Barbosa Rodrigues Botanical in turn recounts the memory of the researches Museum (1940’s) Zoology place and can promote access to Museum, University of São Paulo symbolic content, thereby the stained glass windows as a (1940’s), Justice Tribune contributing to the establishment whole unit. Museum (two windows, 1942 of closer community ties, as and 1955), Professor Carlos da affective memories help to carry Casa Conrado stained glass in Silva Lacaz Historical Museum at forth the implicit desire to Museums in São Paulo the University of São Paulo maintain, care for, and preserve School of Medicine (created in a common heritage. Not only did the Casa Conrado create the São Paulo Municipal Market stained glass windows, References: they also created stained glass windows for various museums. MELLO, Regina Lara Silveira. Casa Conrado: Cem anos do vitral brasileiro. Campinas: We assume that the community UNICAMP, 1996, 209 f. Tese (Mestrado em Artes) – Programa de Pós-graduação establishes the same kind of em Artes, Instituto de Artes, Universidade Estadual de Campinas. relationship with the stained MICHELOTTI, Denise. Arte em Vitrais: a Salvaguarda, a Extroversão e a Sociomuseologia. Lisboa: Universidade Lusófona de Humanidades e glass windows in museums, Tecnologias, 2011,118f. Tese - Departamento de Museologia. where the themes portrayed

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review_on_glass_4.indd 10 11/02/16 08:09 REVIEWS ON GLASS Nº 4 2015 Rosaceas childhood, life, passion and resurrection of Jesus - all recorded in stained glasses in the Basilica of Our Lady of Aparecida Egidio S. Toda. Mackenzie Presbiterian University - Brazil

One of the biggest names in He studied at a state college special program to accelerate contemporary religious art in and in 1972 he concluded a the tuition for late students and Brazil and an internationally Social Science degree at PUC (a in a course, preparing students recognized artist, Claudio Catholic university in São for the entrance exam to the Pastro is responsible for the Paulo), which was the most university. After concluding at artistic design of more than affordable course available. At the college, Pastro was 350 churches, chapels, that time, in a way to survive, instigated by friends to spend cathedrals, and Basilica here he became a teacher in a some time in Europe, a cradle and abroad. He is also a book illustrator and a teacher with over 35 years dedicated to the sacred art.

Pastro was born in São Paulo in 1948 and when he was young he lived in the neighborhood of Tatuapé, close to the convent of the “Mensageiras do Menino Jesus” where the contact with this religious order put him definitely in contact with the sacred. During his childhood, Pastro initiated his training by drawing on pieces of bread paper, encouraged by his mother. According to him, even living in a poor family, he had a duty to speak French at the table, at least on Sundays, Figure 1. Stained glass and rosacea of West Nave. By Cláudio Pastro in because São Paulo in the the Basilica of Aparecida. São Paulo, Brazil. Photo: Egidio S. Toda, 2012. Fifties was a European city.

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of art and sacred art, and so he spent at least two years in Pastro went back did, lasting there for around courses focused on religious art. three months. In general, the purpose of the to Europe from courses was to develop specific By 1974, according to his skills, such as working with 1978 to 1981, friends, he had begun his career sandstone rock, and the where he studied with art. His first work, techniques of fresco and oil according to himself the most painting. Also he studied at the Academia closely associated with art, was ceramic art in Barcelona at the a project sponsored by the City National Art Museum of di Belle Arti Hall of São Paulo, in the Catalonia. In addition, he made neighborhood of Itaquera, East a specialized study in a pottery Lorenzo Ad Zone. After this, since he made workshop at the Benedictine Viterbo in Italy his first solo exhibition of Abbey of Tournay in southern painting at PUC - São Paulo in France. He also completed the and spent at least 1975, he has been dedicated Analysis Course of Aesthetics, to the sacred art. associated to works of art in the two years in Liceu de Artes e Ofícios in São courses focused He went back to Europe from Paulo, Brazil and in the 1978 to 1981, where he studied Benedictine Abbey of Tepeyac on religious art at the Academia di Belle Arti in Mexico. Lorenzo ad Viterbo in Italy and Among all his works, Pastro particularly rates the church of the Benedictine monastery in Itapecerica da Serra and the Abbey of the Encounter, near to Curitiba in Mandirituba, for which he designed the whole architecture of the monastery. He is also responsible for the interior of the church of Trapa, in a Trappist monastery, in the south of Paraná (at Campo do Tenente city). In São Paulo, besides the cathedral of Campo Limpo, his dearest work is the Chapel of the Algerian sisters. Of his acclaimed works abroad, he particularly remembers the challenges he faced, three years ago, to reconstruct the Figure 2. Stained glass and rosacea of North Nave. By Cláudio Pastro in Chapel of Adoration, in the the Basilica of Aparecida. São Paulo, Brazil. Photo: Egidio S. Toda, 2012. monastery of Helfta, in Germany.

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what he himself considers his masterpiece, the Basilica of Aparecida. Here he is responsible for the entire visual communication, the creation of the aesthetic and artistic development of both interior and exterior (Interview with Claudio Pastro on September 7, 2012).

Located within the state of São Paulo, in the city of Aparecida, the Basilica of Our Lady of Aparecida, also known as the Sanctuary of Our Lady of Aparecida, was inaugurated on July 4, 1980, during Pope John Paul II’s first visit to Brazil, when he celebrated a mass on the Esplanade of the Sanctuary, before a crowd of about 300,000 people. After a mass to consecrate the Altar, the Pope performed his own consecration as well as that of all the people of Brazil, to Our Lady Aparecida, by giving the final blessing with the original image of Our Lady (O Estado de S. Paulo, July 5, 1980, p. 40).

The Basilica is notable for its magnitude and grandeur and is the biggest Catholic center of the faith in Brazil. The National Conference of Bishops of Brazil, Figure 3. Inside view of Basilica of Our Lady Aparecida. São Paulo, Brazil. considered it, in 1984, the Photo: Egidio S. Toda, 2012. “Largest Marian Sanctuary of the World.” Hundreds of thousands of worshippers visit it every year Pastro has designed and cathedrals in Brazil, Belgium, to see the small statue of the executed paintings, stained glass Italy, Germany, and Portugal. Virgin, to pay their respect, to windows, tiles, altars, crosses, participate in masses and sculptures, and presbyteries in He is currently facing his celebrations, or simply to churches, monasteries and greatest challenge, creating, contemplate its beauty.

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Each of the panels of the four naves of Our Lady of Aparecida explores one phase of the Jesus’ life

Figure 4. Outside view of Basilica of Our Lady Aparecida. São Paulo, Brazil. Photo: Egidio S. Toda, 2012.

Some figures that illustrate the 6.2 million – an almost seven story of Christianity: the life, massive scale of the complex: fold increase! In 2010, after mission, death, and resurrection the curch is 173 meters long another thirteen years, the of Christ. Divided into thirty- and 168 wide. Its central dome records show that almost 10.4 four panels, painted tiles is 70 metres high and the tower million people visited the distributed around the interior reaches 107 metres. In total the Basilica. of the Basilica to the top, show area covers 18,000 square us the life of Christ, celebrated metres and the building used 25 The architecture of the church annually by the Church. To give million bricks, 40,000 cubic is unusual. Instead of the a more accurate view on how metres of concrete and 257,000 normal nave, choir and transept, this takes place in the Basilica blue roof tiles. The total capacity the plan forms a perfect Greek of Our Lady of Aparecida, let’s of the church is 45,000 people. cross with four almost equal talk about the panels of the four naves. The altar stands at the naves. It is interesting to note According to statistics gathered heart of the basilica, at the that each of these explores one by Father Julius Brustoloni, the crossing and under the central phase of the Jesus´ life through flow of pilgrims in the Basilica dome. To the artist Claudio thirty-four panels. The North, increased significantly between Pastro, this sacred space, a East and West nave each have 1968 and 1997, and it became place of sacrifice, is the eight panels and the South nave clear that the whole structure of tangible symbol of the covenant has ten panels. The South nave the temple needed to be between God and man. The was designed with sixteen changed urgently. The number of crossing, the place where the meters more in length, in visitors increased from 903,000 four naves meet, has a potent comparison with the other three in 1968 to 3 million in 1979, meaning in the Christian naves. All panels measure five and by 1997 it had expanded to doctrine. It signifies the main meters high by seven meters

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wide and are positioned above largest area of window. In the windows. There are around 5,000 the arches of the nave. Over the center there is a rosette in shades of color in the glass and ports of the naves are indigo blue with light and dark their thicknesses range between positioned front panels cobalt blue and contrasted three mm and six millimeter. The measuring five meters high and with lighter tones and white. construction of the stained glass twenty-one meters wide, taking These colors represent, besides windows began six years ago, and up the entire front of the naves. the mantle of the Immaculate the company is also responsible Conception, the childhood and for other windows inside the In each nave and 5 chapels there youthfulness of Lord. Basilica, in a partnership with are monumental, multicolored Pastro. The Geukas Vitrais, in the stained glass windows, making • East Nave - theme: market for 24 years in 2013, has up a total of nine. The windows “Resurrection”. Beyond the established its studio in the city located in the four naves are area of indigo shades, similar of Vinhedo in the state of São composed of several squares, to all other three, the rosette in Paulo, Brazil. in different hues of indigo blue. the center features a shade of Under special light conditions, turquoise, surrounded by sub- “This is a great work, because the the full range of tones and the tones of the same color. The window over the entrance gates of full vibrancy of this blue are colors of this rosette refer to each nave is composed of several revealed. The colors and shapes hope and the perseverance in frames of concrete with around of the larger areas in these four the eternal glory. 2.40 x 2.40 meters each. The stained glass windows all provide stained glass windows were made a similar background. The • West Nave - theme: “Passion to enhance the naves with their differences in the colors and their of Jesus”. Besides the hues of decorative, artistic and spiritual meanings are inside the rosettes, indigo of this window, in the effect, and to direct the visitor in the center of the windows. rosette there is the towards the altar in the center of predominance of different Sanctuary. The design (of the Describing the four main stained shades of lilac and purple. windows) is contemporary, glass windows in the naves: These colors symbolize the different from traditional sacred conversion and penance of the stained glass, and the colors are • North Nave - theme: “Public faithful, and also refer to the more varied”, says Frederik Life of Jesus”. In this nave the passion and death of Jesus Hendrik Antonius Geuer, founder most vibrant stained glass, in Christ (Figure II). (Interview of Geukas Vitrais. shades of darker blue, has in with Zenilda Cunha, his interior a rosette with circles Coordenator of Visitation on of yellow, gold and orange, with 24/11/2011). References the outermost glass panes in shades of red, symbolizing Designed by Claudio Pastro and BRUSTOLONI, Júlio – História de beyond redemption, the executed by Geukas Vitrais, these Nossa Senhora da Conceição adolescence and the adult life four stained glass windows, Aparecida. 14ª edição. Aparecida of Christ (Figure I). referred to above, are over the – Editora Santuário, 2012. entrance gates of each of the PRESS KIT. Administration of the • South Nave - theme: naves in the Sanctuary. The National Sanctuary of Aparecida “Childhood of Jesus”. The glazed area in each of the http://www.vidros.inf.br/ vitraisnovos-no-santuario-nacional. predominance of indigo blue entrance gates measures 350 m², Accessed on July 23, 2012. shades dominates in the totaling 1,400 m² for the four

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Marcos Rizolli. Mackenzie Presbyterian University - Brazil

My first museum impact occurred the responsible for audacious when I was a student of Visual architectural design of the Arts. About 35 years later I visited museum, which consisted of a the Museum of Art of São Paulo, subsequent disposal glass panels the MASP, whose headquarters is supported by vertically cubic located in the famous Paulista blocks of concrete. Since the first Avenue, in the capital of the State point of view of the visitor could of São Paulo - Brazil. visualized the art displayed in alternate succession plans. As At that time, the large room of the well: transparent layers of visual collection international MASP information in whose historical – considered the most important trajectory generated continuous collection of world art from Latin contamination among the most America – recognized his unique diverse images, authors, styles layout designed by Lina Bo Bardi, and periods.

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The kaleidoscopic effect triggered by the simultaneity left clear and evident both curatorial design as museographic there on the agenda: the artistic phenomenon will always be a dynamic organism and as such should be presented to the public.

It was amazing contemplate Van Gogh and to look at each other, oblivious to plan the Matisse. To admire a Raffaello glimpsing one Rubens.

In addition, if by chance the look had escape of the circuit of the Museum of Art of São Paulo ( MASP). Lina Bo Bardi. Photo: Paolo Gasparini. art works, the focus of visibility © Instituto Lina Bo e P.M. Bardi (Arquive). could I meet (themselves) with the metropolis and its already frenetic movement. Anyway, this more or less like that big responded to the demands of inside-and-outside the museum museum institutions have decentralization of artistic decisively marked my ideas about survived the crowd of visitors – collections and spraying of the museum - any museum! mostly people without intense public interested in art and instruction on art, history and culture. Nowadays, in real-time and culture. professionally made in the field On the other hand, because the of arts, I have been dedicating Therefore, I have been new cells have conceptions myself to visitors from different approaching in interest, some museum innovative and museological institutions. To stop smaller museums, and alternative differentiated devices direct contact with the artistic and more precisely by their museological institutions matrix. culture of not only the most natures cell advanced large diversified human communities, institutions can present itself to The recently opened, Le Louvre- but also it is mainly to find how its visitors a more transparent Lens is located in the industrial these heritage institutions inform way. Institutions that I will call city of Lensin Northern France with their audiences. It is here metaphorically of museums and displays objects from the possible, then, to see that the of glass. collections of Paris Louvre predominant tonic expository Museum on medium and long occurs in temporal axis – in Revealing the metaphor, I want to term loan. This new satellite contiguous time lines and trends identify two museums located in displays works side-by-side, markedly nationalistic. Thereby: the French countryside: Le crossed and juxtaposed and there will be the formation of, for Louvre-Lens and Metz Pompidou. from all periods and cultures, example, the Louvre, “French My choice is partly to recognize creating an entirely new painting wire disposed on a route the commendable cultural policy intellectual experience for the secular”. Venture to say that it is of the French government that visitor.

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Bardi and as transparent as the first. The Glass House, it is a fascinating house. There, in the neighborhood of Morumbi in São Paulo, Pietro Maria Bardi, the legendary director of the MASP, lives with her husband.

The Glass House is an architectural landmark in São Paulo since its construction in 1951. The personal collection, gathered by the couple throughout his life, has been transformed into the Institute in order to promote research and Casa de Vidro in the 1950s. Lina Bo Bardi. Photo: Unknown Artist. disseminate the fields of art and © Instituto Lina Bo e P.M. Bardi (Arquive). architecture in Brazil. It consists of works of art, furniture, documents, objects, photographs, However, the unusual experience To do so, your asset is in relation and drawings of Lina. occurs in sensory levels. The museum-city. Its building formed building consists of a series of by a great sets hexagon for three Registered by CONDEPHAAT in volumes clad in glass and galleries communicating with each 1987 and later by IPHAN as stainless steel. The continuous other that have projections that historic, the house became a point relationship between transparency allow viewing of external of visiting museum and research (glass) and density (steel) allows landscape. Experience source for scholars in architecture the visitors an odd perceptual museographer – scaled by the and art. The Institute promotes experience. Multidimensionality, organic architecture – allows exhibitions, meetings, lectures, information merges – between simultaneous contact with the art visits, publications, and videos. visualities and spatiality: between and the city. From the inside to architecture and landscape. outside, its walls, which comprise The house, itself, has become a large hollow glass, framing the city museum of glass! On the other hand, the – as Metz, on average perceived Pompidou-Metz is an arts center distance was itself a screen. located in North-eastern France References in the industrial city Metz, and it After thinking about the new is opening is the first experience museums, especially those made Folha de São Paulo (Ed.) Os of decentralization and extension of glass, I intend here to rescue - Grandes Museus do Mundo. São Paulo: Folha, 2009. of the Centre Georges Pompidou to move forward in time of RIZOLLI, M. Artista-Cultura- in Paris. Ambitious project, the perception – my first impressions Linguagem (1.ª reprint). museum aims to be a major during my first contact with a Campinas: Akademika, 2010. center for exhibitions and artistic museum. For this, I will SANTAELLA, L. Cultura da Mídias. initiatives – demands of displaced to another environment São Paulo: Experimento, 1992. contemporary creation. – designed by the same Lina Bo

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review_on_glass_4.indd 19 11/02/16 08:09 LECTURES Research on twentieth-century stained glass in Rio Grande do Sul, Brazil

Mariana Gaelzer Wertheimer. Independent researcher

The research about stained glass At the end of the nineteenth in Brazil is in its early stages and century the local production of a long road still needs to be stained glass begins develop in traveled to create greater Brazil, in places of greater awareness and protection of this national economic development. type of cultural heritage so In many commissions for susceptible to degradation. stained glass in these places we can see an element of social What can be said is that the status and sometimes of development of stained glass in religious representation. Brazil is closely linked to the founding population of cities The pioneer in the history of and their relationships with stained glass was Conrado European countries. In the Sorgenicht, from Rhineland, cities which witnessed the Germany, who immigrated in greatest development in the art 1888 with his wife and children of stained glass, its production to the city of São Paulo and was closely linked to families of Figure 1. Centers location of founded the Casa Conrado, one Italian and German heritage, national production of stained glass of the major stained glass in Brasil during XX century. while the Lusitanian tradition studios in the country. The played a small role in the history of Casa Conrado was stained glass production in The first examples of stained made by three generations of Brazil. Thus, as pointed out by glass in the mid-nineteenth work spread around various Brandão (1994 p.49), the main century came from France and regions of the country. (Mello centers of national production Germany, as in the case of the 1996, p. 20th). were mostly found in stained glass panels of the Pernambuco, Rio de Janeiro, Municipal Theatre and the The productions of the Italian São Paulo, Paraná, and Rio Colombo Bakery in Rio de Janeiro father and son Cesar Alexandre Grande do Sul (fig. 01). (Wertheimer, 2009). and Gastão Formenti, have

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shaped the development of book Light on Ecstasy by names like José Wollman who stained glass in Rio de Janeiro Ignacio de Loyola Brandão executed his first panels in the until about 1944 (CLARA 1978 (1994) presents an overview of city hall of Porto Alegre in p. 46). Their workshop was the history stained glass in 1906, and the building of the responsible for important works Brazil. Published academic School of Law at the Federal such as the church of research includes the Masters’ University of Rio Grande do Sul Candelaria and the Capuchin Thesis: Casa Conrado: The in 1909. However, their output chapel in the church of Santa Hundred Years of Brazilian was small, as was that of the Terezinha, (BRANDÃO 1994 p. Stained Glass (1996), by Vidraçaria Porto Alegre, owned 47). Regina Lara Silveira Mello, from by Eduardo Peuker. the State University of In Pernambuco, the history of Campinas-SP; The stained glass A more systematic study is stained glass is marked by the and their donors in the capital being carried out in Southern arrival, in 1910, of the architect of Espírito Santo-between Brazil; since 2008 studies and artist Heinrich Monser, 1930s and 1940s (2009) have been developed by schooled at the “Königliche written by Monica Cardoso national development and Akademie der Bildenden Künste Lima, at Federal University of academic initiative of the München” in Germany. In Espírito Santo; and The Stained Federal University of Pelotas. Paraná the development of Glass Art of the twentieth- Between 2008 and 2012 three stained glass is linked to the century in Pelotas (2010) by cities had their production presence of the Heimar family. Mariana Gaelzer Wertheimer, at analyzed: Porto Alegre, Rio Lorenz Heimar, born in the Federal University of Grande, and Pelotas. More Hohenbachern, Germany, arrived Pelotas. recently, a new inventory in in Brazil in 1950 to work in the Serra Gaúcha is being Porto Alegre, RS with the House As it was in other states, in Rio studied from a partnership Genta. However, he sought new Grande do Sul the historical with a private training center. directions and after spending course of the stained glass was These records were dedicated some time in the countryside of directly linked to the presence to the memory of the equity of Rio Grande do Sul, and moved of Europeans arriving in the twentieth-century stained to São Paulo for a while until he early twentieth-century. Two glass, as well as its historical finally settled in Paraná where families have marked the course development and existing he developed his work as a in the South, the family Veit technology both in sacred and stained glass artist with his son from Germany and the family public spaces. The studies Lawrence Heimar (Brandão, Genta from Italy. In both their were based on surveys of 1994 p. 62). productions, it is possible to written texts and fieldwork, identify a continuation of the often from primary sources. The study of stained glass in European tradition in the Research on the development Brazil has few bibliographical compositional schemes with of manufacturing technology sources. Of the available figurative representations, more was carried out with the help publications, Vera Zatera’s or less worked moldings and the of physical and chemical Stained glass in Rio Grande do inclusion of the name of the analysis. Sul (1989), edited by the donor, usually at the base of the University of Caxias-RS, panels. The production of The material was recorded and presents a more photographic stained glass in the Rio Grande released in various media, firstly than historiographical work. The do Sul also featured little known on CD, secondly in a

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contains works by studio Veit, and the fourth group consists of stained glass windows from both workshops.

While the House Genta had a production organized into a company of which records survive at the Board of Trade (1908? - 1980), the House Veit was a family workshop of which no records survive in municipal organizations. In the workshop of Veit few windows were signed Figure 2. Struture CD of patrimonial search in Porto Alegre. and generally did not have a uniform manufacturing, even with record of two distinct periods of signatures, one: Veit largest urban center, was and children and (Stoss and All stained glass initially formed by the arrival of Hans) and Hans Veit Vitraux or / Azoreans during the mid- Arts gathered, the latter two produced by the eighteenth century. In the signatures belonging to the nineteenth and twentieth- period after 1934. Another House Genda, century it was the scene of striking feature in the intense immigration of production of the studio is the was made by Germans, Italians, Spanish, abundant use of opaline glass stained glass Polish, and Lebanese. Currently, and opalescent, especially in it is a city that has windows for front facades. masters hired approximately 1.4 million inhabitants. The results of the The House Genta had a larger by the office from survey in the city of Porto proportion of market operation Europe Alegre were derived from the than the House Veit. Their study of forty buildings arranged production extended across the in four groups (Figure 2), where state, with branches in Ijui, there was no information about Passo Fundo, and Caxias do the original commissions of Sul. Within the state its work stained glass in the houses, but was not directly linked to the works could be attributed production of stained glass, but dissertation, and finally as part through formal characteristics rather in the production of car of an undergraduate dissertation and / or technological parts and plastics. All stained and part of a website. approaches, to one of the glass produced by this firm was workshops studied. The other made by stained glass masters Contextualizing the initial group consists of works hired by the office from Europe. research, we can say that the attributed to the House Genta, Their works were always signed state capital Porto Alegre, the while group number three and had well-defined pictorial

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characteristics. The principal glass. The sacred stained glass for the subjects represented and masters were Maximilian is characterized by more the organization of the Dobmeier, former employee of sophisticated techniques and compositions. The connection the House Mayer of Munich, more complex cuts, decreased with the medieval tradition is a Germany, and Ferdinand Urban use of stains, and greater use of constant in religious stained from Irun, Spain who worked in colored glass, which was mostly glass works, both in the the French studio of of imported origin. subjects, compositional Maumejean. Besides these organization, or even the employees who worked in the In April 2012 a survey began of presence of the donor’s name firm of the German Lorenz the windows in Rio Grande, a on the window. The windows of Heimaier, there was the English town south of Pelotas, with residential buildings, in turn, artist Ferdinand Urban and about 196,337 inhabitants follow the tradition Art Nouveau another Spaniard who is known (IBGE 2010). Its history is movement and have fewer from the records only as ‘Rojas’. linked to the seaport area. Until historical links. early 2013, thirteen specimens Pelotas was the second city to were inventoried and among As noted earlier, there is still be inventoried, with fourteen those, seven specimens came a long way to go to better stained glass works collected. from the House Genta and one understand the history of stained The city was founded in the from the Workshop Veit. This glass in the country. What is eighteenth century and its research was the result of an being done so far are the first development was linked to the extensive project at the Federal attempts to create a greater production of dried meat. Today University of Pelotas with awareness and protection of this the city has around 327,778 students from conservation and fragile art which is extremely (IBGE 2010) inhabitants, is the restoration disciplines. This susceptible to damage and third most populated city in the research is still ongoing. The degradation. This work aims to state. Their inventory was taken main conclusion that can be initiate a more systematic study between 2010 and 2011 and drawn from this study is that, of this artistic manifestation, among all the works available regardless of its origin, the recognizing its relationship with only four sets had authorship production of stained glass the national memory and identified: three of them windows changed very little in disseminating information about belonging to the House Genta its tradition. This is true for its an art with so little tradition in and the fourth work belonging technology and sometimes also Brazil. to Atelier Veit. In this study one can see that the windows were used as compositional elements of eclectic architecture that characterizes the central part of Bibliography town. They were symbols of BRANDÃO, I. L. 1994. Luz no êxtase: Vitrais e vitralistas no Brasil. São Paulo: technological and aesthetic Dórea Books and Art. 95 p. changes, representing the MELLO, R. L. S. 1996. Casa Conrado: cem anos do vitral brasileiro. economic and social order of Dissertação, Mestrado em Artes, Universidade Estadual de Campinas, the city. Its production can be Brasil. 210 p. divided into two groups with WERTHEIMER, M. G. 2009. Estudo do Patrimônio de Vitrais Produzidos em different characteristics: Porto Alegre no Período 1920/1980. Porto Alegre, Brasil. CD-ROM. religious and profane stained

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This block of contributions was prepared for the ICOM Glass Conference that took place in Bratislava and Lednické Rovne between October 28 and 31, 2013. The members of the meeting visited local collections, exhibitions and other events that illustrated the history and present time of the Slovak glass art. Icom Glass Conference in Bratislava Katarína Beňová. Institute of Art History, Faculty of Arts, Comenius University, Bratislava

Jana Švantnerová Ladislav Pagác,ˇ Karol Drexler, century, which came from the Eva Ilkovicová-Potfajová,ˇ Milan collection of Baroness Margit Collection of glass in the Slovak Gašpar, Juraj Opršal, Ján Mýtny, Czóbelová (1891 – 1972) from National Gallery Miloš Balgavý Jr, Patrik Illo, Strážky. L’ubomír Blecha, and Ján The gallery began to acquire Zoricák,ˇ as well as foreign works of famous Slovak glass artists. The fund is regularly artists in 1961, when the replenished with the productions department of commercial art of Lednické Rovne glassworks, and industrial art design was comprising of historical artworks established. The collections and creations by the company’s include creations of Václav designers Karol Hološka, Jaroslav Cigler, Jozef Vachálek, Juraj Taraba, Dagmar Kudrová, Gavula, Ivan Polák, Marián Ladislav Pagác,ˇ Juraj Steinhübel, Mudroch, Askold Žacko,ˇ Jozef and Jozef Kolembus. The Tomecek,ˇ Pavol Tomecek,ˇ Eva collection also contains Václav Cigler: Pyramide, Gallery Dolejšiová-Fišerová, Jiríˇ Bohác,ˇ thirty-two pieces of commercial Nova Collection. Štepánˇ Pala, Zora Palová, glass from the turn of the 19th

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The future of the Slovak glass scene is oriented to the creation of objects from optical and cast glass Štepán Pala: Infinity, Gallery Nova Collection.

Zsófia Kiss-Szemán works of Dale Chihuly, an artist few years). The future of the with Slovak origin. Recently, the Slovak glass scene is oriented to Glass artworks in the collection of gallery bought two works from the creation of objects from Bratislava City Gallery the young Russian-Slovak glass optical and cast glass. Most artist Ašot Haas. He creates artists are oriented to the foreign The Bratislava City Gallery works reminiscent of neo-pop-art, glass market and they exhibit or (GMB) does not follow the using an individual technique participate in art fairs, museum history or development of glass, and precision in alternating exhibitions or special glass but from time to time holds negative and positive forms. awards. For the reflecting and glass exhibitions. Its collection presenting the Slovak glass, the contains glass items that surpass Katarína Beˇnová Nova Gallery has had a main role the borderline of commercial during the last years. The Nova glass and fulfils the criteria of What is the future of Slovak Gallery is one of the oldest, free art. The first acquisitions, Contemporary glass art? private galleries established after creations of L’ubomír Blecha, 1989. After a time consuming Ján Suchán,ˇ Askold Žacko,ˇ Ján The sculptural works of glass, reconstruction, the gallery Mýtny, and Milan Dobeš, entered so-called studio glass, has a long started to work with modern-day the gallery’s collection in the tradition in Slovakia. In 1965, glass in 2007 and aimed its 1970s and 1980s. The works of the Glass in Architecture studio support at contemporary Slovak glass artists Milan Pagác,ˇ Viktor was founded at the Academy of glass art, design and partial Oravec, Miloš Balgavý, and Fine Arts and Design in sculpture at home and abroad. Ladislav cˇ arný, an artist who only Bratislava. It was led by Václav During the first years of its works sporadically with glass and Cigler, a leading personality in existence, the NOVA gallery held mirrors, came in the 1990s. Slovakia’s glass history. Up to exhibitions of such glassmakers After 2000, the gallery received today many glass artists studied as Václav Cigler, Pavol Hlôška, three items of Patrik Kovacovský,ˇ there, oriented not only to the Miloš Balgavý, Oliver Leššo, and which he originally created for studio glass, but also to glass Lukáš Mjartan. To encompass EXPO in Hannover, and the design (especially in the past the glass scene, the gallery came

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Republics. The winners so far well-known in post-war Czech include Ašot Haas, Slovakia and Slovak households, includes (2007); Ondrejˇ Strnadel, Czech vases, glasses, bottles, lamps, Republic (2009); Martin lemon squeezers, ashtrays, Hlubucek,ˇ Czech Republic oven-proof glass, as well as the (2011); and Petr Stanický, cultish glass containers for Czech Republic (2013). Also mustard, which were also used, another very important field of for instance, for drinking interest is the publication unfiltered ground coffee. activities of the gallery – for example the books Slovak Ján Kautman Contemporary Glass (2007) and Decades of Slovak Glass Folk Glass publication (2011). The Centre for Folk Art Maroš Schmidt Production issued the publication Folk Glass in the Glass used in households second half of 2013. It is a joint work of ethnologist and Zora Palová: Icy Ways, Gallery Nova Collection. The man behind the Slovak art historian Irena Pišútová, a Design Museum (SMD), which long-term employee of the was established in August 2014, Historic Museum in the Slovak is a designer and keen collector National Museum (SNM), and Czechoslovakia of after-war design works made natural scientist, collector, and in Czechoslovakia. Since June photographer Ján Kautman, was one of 2011, with the help of the director of the Natural History members of the Ostblok Civil Museum in the SNM. Until the world’s Association, he managed to then, there was barely anything collect hundreds of products in our literature written about largest design from households, including folk glass. The publication producers after unique prototypes, drawings and Folk Glass presents the technical documentations. phenomenon of the Slovak folk the Second Czechoslovakia was one of the glass, which is characteristic world’s largest design producers with the simple shapes of World War after the Second World War, both blown glass combined with in quantity as well as range, as it almost strict utility function continued in the excellent of the design and discreet traditions of the country’s decoration. The authors also inter-war industry. SMD’s document the history of Slovak collections contain several thousand glassworks in the 18th to 20th up with a special glass award for items of manufactured, graphic century, which produced a Slovak and Czech glassmakers, and textile design, commercial varied assortment of which has lately been extended art, craft, photography and commercial and decorative to include foreign artists working architecture. Naturally, part glass for higher and lower in the Czech or Slovak of it is the commercial glass, classes.

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Danish Studio Glass –a portrait Jan Kock. MA, Associate Professor emeritus, Aarhus University

In the swinging Sixties, which in dominated the scene was tastes changed as the years past. many ways extended into the succeeded by more subdued In the mid-2000s everything Seventies, we believed that colours, often grey and white. peaked, the economy was development would continue This was the way for a period, but booming and it was a good time positively and upwards forever. the direction soon changed again; for art and glass. Everything Optimism was high and there were periods of almost full employment. This exuberance lasted for some time into the 1970s, but was finally subdued by the oil crisis, which among other things meant car-free Sundays in Denmark. The positive waves in society were reflected in design: it was a colourful period when folks were not afraid to tryout new ideas and question the establishment. Many new impulses in culture came from the American and English spheres. Who could forget Flower Power? There were also European currents crowding in.

The national economy fluctuated in the following decades and new movements cropped up in art. Fig. 1. Finn Lynggaard: Vase 1972, H. 14,9 cm. Photo: Klemp & Woldbye. The colourful glass that had

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glassblowing for 42 days. There blood was needed and several were serious technical problems, designers and artists passed Glassmakers but they were solved with true through or remained for slightly enthusiasm. The same pattern longer periods. In 1968, Michael travelled widely, repeated itself over obtaining the Bang was employed as an artist at raw material. It was necessary to Holmegaard in Odense. His chiefly to the UK use what was available, so he background was that he had crushed empty bottles and other served his apprenticeship with or the USA, glass packaging that were at Bjørn Wiinblad and learned the to absorb new hand. trade as a modeller at the Royal Danish Porcelain Manufactory experience as But with a true and uncritical before working as a designer at pioneering spirit, a hundred of the a Swedish glassworks. His assistants glasses produced were shown at contribution to Danish glass, an exhibition at Den Permanente besides some fine functional in Vesterbrogade in Copenhagen. glass, included modern glass The Museum of Decorative Art in lamps that sometimes called for swung round so drastically in Copenhagen, today Danish extremely skilled glassmakers. His 2008 that things are only just Museum of Art & Design, bought Palet series from 1970 was beginning to right themselves. one of them (fig. 1). Another probably his masterpiece in glass initiative during this time was design, consisting of bowls, Studio glass appeared in Denmark a three-day seminar for students dishes, and other vividly coloured at the beginning of the 1970s and practising glassworkers at the items for a smart a dining table. and the description below follows Danish School of Decorative Art Sometimes he could give his developments from the first in Copenhagen. The driving forces more exuberant talent a free rein. fumbling attempts up to the were Torben Jørgensen, the In 1995, a particularly interesting present. Studio glass took up an principle of the glass line, and exhibition on water was shown. increasingly prominent position as Finn Lynggaard, lecturer on the This was a total installation on industrial glass production ceramic line. This seminar was the subject of water entitled struggled and finally disappeared a great success with more than Glass, sand and sea. Michael in 2008. eighty participants from several Bang was in many ways on the countries. It would certainly be same wavelength as the studio The single-minded studio glass difficult to underrate the glass people, because it gave him movement, primarily inspired by importance of the seminar, as scope for his creative games. the American examples, found its many personal contacts were way to Denmark in 1972 with the made. The newly started studio Schools and training in glass well-established and progressive glass movement in Denmark ceramicist Finn Lynggaard. He fell became part of the international The Danish School of Decorative headlong for glass in 1971 on movement, nurtured and Art in Copenhagen set up a glass a visit to Sheridan College near encouraged with great line in 1973/74 with Torben Toronto, Canada. When he came enthusiasm, especially by Finn. Jørgensen as the principal home he eagerly built a small teacher. Today the name is Danish glass furnace, which did not last At the big and traditional Design School and is a long. A new one was constructed glassworks, Holmegaard, there department of the Royal Danish immediately and was used for was a strong awareness that new Academy of Fine Arts, Schools of

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Architecture, Design and Architecture. Also the Glass and Ceramic School, Bornholm, which was started in 1997, is today a part of this body.

Here in Denmark, many beginners improved their skills and gained experience by working as assistants for others who had a running workshop. In other cases, glassmakers travelled widely, chiefly to the UK or the USA, to absorb new experience as assistants. A few visited Murano, but it was not easy, as its atmosphere of secretiveness was a barrier. As in other places, Fig. 2. Viggo Haaning: Tableware, 2015, H. 8-25 cm. glassblowing was a man’s job and when Laura Madsen from Denmark arrived in Murano in in ceramics. What they made was glass, reflecting the effortless 1999, she intrepidly simple and straightforward. optimism at the time. Much of it demonstrated that a woman could was functional glass with trees blow glass, causing a sensation The same year, Viggo Haaning and fruits in a casual style. They bordering on indignation. started up at Bramminge later built a new oven indoors that brickworks near Esbjerg, later was better suited to the Danish More glass workshops moving his workshop to Dyreby, climate. However, Niels Christian and finally to Henne Strand where Olesen soon decided to set up his In the mid-1970s several more he is still practising his craft at own studio in the former post new glass studios were set up by Henneby Glass studio. Like office in Skagen, the heart of the passionate enthusiasts. Only a others, Viggo began by melting holiday area. Sometime later, Per few examples can be mentioned down bottles, but has since gone René Larsen decided to set up his here, chosen because over the to using window glass exclusively own workshop at Fanefjord on the years they have made their mark as his material (fig. 2). island of Møn, which for several in some way: artistically, decades now has produced technically, socially, or as 1977 stands out as a year when a sophisticated glass art (fig. 3). craftsmen. The decision to whole cluster of new glass studios Snoldelev Glasbrug continued to include or exclude studios should opened across the country. Only opperate until 1983, when Skak not be seen as an evaluation. mentioning one of many, in Snitker hired facilities at Snoldelev, south of Roskilde, Per Christiania Glaspusteri on Thus in 1974 Jesper Kerrn- René Larsen and Skak Snitker set Amager, and then in 1987 set up Jespersen and Aino Grib opened a up an open-air glass oven in the Glasgalleriet in the disused joint studio in Birkerød. Jesper yard at Snoldelevgård. Together gasworks in Roskilde together had trained at the School of Glass with Niels Christian Olesen they with Ida Løkken and Peter in Orrefors and Aino had trained blew cheerful, uncomplicated Svarrer. Peter Svarrer joined

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during the period in Christiania. Under Skak Snitker, the studio in Roskilde has maintained a high artistic level to this day.

The year 1977 was the start of the glass story on Bornholm. A small disused herring smokehouse in Snogebæk, was outfitted as a glass workshop by initiative Fig. 4. Maibritt Jønsson and Pete Hunner: Blue corn, 2014, H. 9 cm L. Mogens Dam who was not a 152 cm. Photo: Pete Hunner. glassblower himself.

There were no glassmakers on been produced there; it is no house”, as it is stated in Hans Bornholm so Mogens Dam had to exaggeration to call it the high Christian Andersen’s song. With a travel round Denmark and end (fig. 4). little rephrasing the verse could Sweden to find skilled people. In apply to Glassmedjen (the Glass Sweden he found the American In 1985, Pernille Bülow from Smithy) in Kregme, located right Darryle Hinz, who was soon joined Bornholm leased the workshop in out in the swing of the road that by Pete Hunner and Charlie Snogebæk and later bought it. is now transformed by a Meaker, who also came from She then decided to close down roundabout. This is where Nanna American backgrounds. This was production there in favour of a Backhaus Brown and Andrew a strong team whose members new workshop on the market Jason Brown opened a joint glass have since made an enormous square in Svaneke, which opened studio in 1993. Nanna learned impression on Danish glass. in 1989 under the name of the art at Arresø Glashytte and It was not long before large Pernille Bülow Glas. She focused Andrew started his studies at numbers of glassworkers came by on well-designed glass following Stourbridge School of Glass in for shorter or longer periods. the current trends, but added her England. The studio soon became Names like Karen Klim, Lena own personal touch. known as a place of high artistic Ljungar, Jesper Sødring, Niels level and each had a distinctive Christian Olesen, and many others As a true entrepreneur, she sees profile, reinforcing the picture of have all spent time at the possibilities that most others a place with room for diversity. workshop and afterwards stayed miss. At one time, Pernille Bülow They spent fourteen years in on the island. had 35 employees working for her Kregme before they were able to and no fewer than six large glass realize a shared dream of opening Pete Hunner and Maibritt Jønsson ovens in operation. A large a workshop close to the sea, or made an early start and set up proportion of the work was carried more precisely in Hundested themselves in 1981 at the out at a workshop in Nexø Harbour, which like so many other Østersøhytten near Østermarie. Harbour, where the Duo tea-light Danish harbours was then They later decided to move their holder came into existence. Its undergoing rapid development. workshop to the coast road south special feature is that it consists Finally, in 2008, they could of Gudhjem and gave it the more of two halves in different colours. proudly open the doors of a brand international name Baltic Sea new two-story Glassmedje with an Glass. Since then, some of the “There where the road swings open glass workshop, gallery and very best Danish studio glass has round stands such a pretty shop.

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Fig. 5b. Nanna Backhaus Brown: Pastorelli vases, 2014, Max. H. 35 cm.

The artistic profile at the Glassmedje is strong. The couple chose a niche where they stand out from the majority by specialising in lighting. The range in lighting repeats many elements of style used in the rest of their glass. The lamps stand out clearly from so many other things, opening a market beyond the Danish borders. Any Fig. 5a. Andrew Brown: Fig. 6. Finn Lynggaard: Bowl size of lamp, from the smallest Battuto Bowl, 2015, W. with flowers, 2009, W. about to the largest, is possible (fig. 5 40 cm. 30 cm. a and b).

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Fig. 7. Tobias Møhl: Glassweaver vessel, 2011, H. 49 cm. Photo: Poul Ib Henriksen. Fig. 8. Torben Jørgensen: Sphere, 2005, H. 30 cm, L. 47 cm.

Finn Lynggaard moved to Ebeltoft and Leif Møller Nielsen and from the Italian master Lino in 1978. He took over Do’s Christina Hellevik. One could be Tagliapietra. However, without workshop in 1980. He set up concerned that there were too talent and without being such a Ebeltoft Glas and ran the many glass workshops for a town perfectionist with a sharp eye for business together with his the size of Ebeltoft. Fortunately, the possibilities in form he could colleague Tchai Munch, who later to a large extent, they have not have succeeded (fig. 7). The became his wife. These two different talents and focal points same applies to Steffen Dam, outstanding artists made their and together they give a very with his notable universe of sea mark during the next decades good picture of what Danish glass creatures. They have been helped with important glass art in is all about. As mentioned, many on their way by Galleri Grønlund, constant development (fig. 6). married couples run glass which introduced them in the workshops. In most cases, each USA. Ebeltoft gradually became an person has a distinct identity and important glass centre. Besides creates individual work, while at Holmegaard and studio glass Ebeltoft Glas, others have worked the same time some works are since the 1970s with glass in the town and the created jointly. The interaction region close by for shorter or between masculine and feminine Meanwhile, Holmegaard longer periods. Strikingly, many has clearly been an inspiration for Glassworks was very interested in of the workshops were run by many of them. new designers. Michael Bang couples: Tobias Møhl and Trine arrived in 1968 and Torben Drivsholm; Steffen Dam and Tobias Møhl and Steffen Dam Jørgensen was taken on in 1977 Micha Karlslund; Moeslund Glas, have both succeeded in building while Per Lütken was still there. run by Henrik and Louisa up a thriving, international career. Over the years, Torben Jørgensen Knüppel Moeslund; Søren Tobias learned his craft was fascinated by the magic of Ringgaard and Iben Kielberg; thoroughly at Holmegaard and paperweights. Consequently, he Helle Rønholm and Claus Møller; went on to learn a great deal turned again and again to solid

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glass with polished facets. Columns with figures in the form of paperweights were practised to perfection. This part of his production is reminiscent of Czech glass art, which specifically cultivates the light in solid glass (fig. 8). Beside his work at Holmegaard he started his own glass workshop together with his wife Jytte Mørch and today there daughter Karin is a part of the young glass generation.

Even more glass workshops

A lot of glass is sold from the artist’s own workshop, where there is often a gallery or shop next to the workshop and buyers can see the hot oven. There are many good examples of this arrangement. It was also standard in Ebeltoft, where several studios opened in the 1980s and 1990s and it was considered an advantage to be close to the tourists.

Many have tried the idea of a studio in a tourist centre. Søren Ringgaard, for instance, had a workshop in Søndervig on the dunes at Holmsland Klit. Right at Fig. 9. Leif Vange: Stripes, 2015, H. 32 cm. the tip of Jutland in the centre of the town of Skagen, Niels Christian Olesen settled in the old other glassworkers, Leif was badly in Lønstrup. Or as Leif once post office and has made no originally a ceramicist, but now expressed it: “It is hard to keep serious complaints since. devotes himself to glass. production down”. Through Experiments have always gone on deliberate efforts Lønstrup has In Lønstrup, a little further along there, exploring new departures, developed into an excellent town the coast, Leif Vange started while at the same time producing for art and art craftsmanship, with Glashuset in 1990 in the former excellent functional and art glass an atmosphere that is totally Linnemanns Hotel and associated (fig. 9). As they say in West different from most other holiday it with Restaurant Glashuset. Like Jutland, things are not going places.

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New initiatives have appeared in recent years. For some decades, a business complex on Islands Brygge has housed several glass workshops, such as the artists’ cooperative group Fragile. Another pioneer in this area was Lene Bødker who is now based in Roskilde. When it all started, the area was a dilapidated industrial quarter and rents were low. Today there is an enthusiastic group of glassmakers who started a new joint workshop in 2007, calling it Luftkraft Glasstudie. The area is no longer a neglected Fig. 10. Britta Madsen and Søren Gøttrup: Safety Matches and Cigarette industrial slum. At first there Box, 2014, H. left 40 cm and H. right 38 cm. were six stakeholders: Stine Bidstrup, Pernille Braun, Christina Rivett, Stine Diness, Just north of the Rold Forest lives a defibrillator, a multitrip bus Tillie Burden, and Mette Colberg. Britta Madsen and Søren Gøttrup. ticket, petrol cans, warning signs, A few new members have joined Previously, Britta worked in textile shamans, surfaces of a boat for a time and some have moved art and Søren as a painter. or a car, various smørrebrød or on. They all knew each other However, since the early 1980s quantities of hot dogs, and lots previously, having all trained at they have worked exclusively with more, all executed in giant sizes the Glass and Ceramic School, glass. They found their own niche and bright colours. It would not Bornholm. in the art world. Their point of be entirely wrong to call it Pop departure is thick glass sheets Art (fig. 10). Near the Zoo in Frederiksberg, and enamel colours. They often Copenhagen, the Designer Zoo find motifs in everyday objects, The glass workshop in was established in 1999. The such as the colourful images that Kronprinsessegade in Copenhagen concept is somewhat different appear when baggage is x-rayed came into existence in 1983. The from Luftkraft Glasstudiet on at the security check in an owners, Anja Kjær and Darryle Islands Brygge, as a very wide airport. These pictures are Hinz, met each other in range of Danish arts and crafts converted into prints and fixed on Snogebæk. From the very are sold in 1,000 square metres glass plates, which are then cut beginning, their highly colourful of shop area, while there are out as a suitable handbag and functional glass was artistically workshops in a further 400 melted together in large ovens to and technically in a class of its square metres. Here Bettina produce a handbag with an x-ray own, which very few at that time Schori bases her work on image of the contents. There are could live up to. The couple were manipulating glass bottles, and almost infinite numbers of very conscious of the value of Marion Fortat works with glass motifs: stamps, smoking guns, marketing, and for a period ran in architectural forms and light hot dogs, matchboxes, a real gallery. colours. The Designer Zoo is a

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Fig. 11. The distribution of Danish glass studios and glass artists in Denmark. For more information, see the website www.glasnettet.dk.

good expression of what is going where through the course of the Fig. 12. Per Kirkeby: Window on among the avant garde in day the light causes constant for the church in Gentofte, Danish arts and crafts. changes in the character of the Denmark. Made at the motif. Works of this type have workshop of Hebsgaard A/S, The list of artists and workshops been made for centuries for 2010, H. 250 cm. could be extended and new ones churches and during some appear. Many good workshops periods for secular buildings, have not been mentioned, which depending on the fashion. Hebsgaard has always seen the is some indication of the size of possibilities in ingenious projects the Danish glass world today. See Several glaziers around the and has been the person who the homepage www.glasnettet.dk country carry out work of this could realise works of art in where you will find a more type, but the field is absolutely glass. Over the years, he has complete list and an access to dominated by Per Steen collaborated with well over a the homepage of the individual Hebsgaard, who masters the hundred of the best artists in glass artist (fig. 11). techniques and at the same time Denmark. Only a few will be has a strong artistic streak. In named here: Carl-Henning Hebsgaard and his circle of artists 1986 he started his own firm in Pedersen, Bjørn Nørgaard, Lars There is a whole genre of glass art Østerbro in Copenhagen, later Ravn, Per Kirkeby, Olafur that makes use of the material moving his workshop to Vanløse Eliasson, Elle-Mie Ejdrup differently than studio glass, and finally to Præstø, into larger Hansen, and Tróndur Patursson. whose history is different and and better facilities. Here he Together, all the many artists longer. The finished object is dreams of setting up a permanent associated with the workshop almost always in use as a window, collection one day. have made a very great

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been said about the fact that so they slow down the pace some of the active studio glass dramatically for a while or artists have also carried out large completely drop their careers in assignments outside their glass. Luckily, there are other workshops as decorations good things in life, although it commissioned for churches and may be difficult to arrive at that public or private buildings. point of view. Several techniques such as polishing, engraving, etching, Having said this, there are clearly transfers, and sandblasting have many fine blooms in the bouquet, only been mentioned very briefly and new ones are being added. or not at all. We can all remember Fortunately, there are numerous when neon lighting arrived and funds and awards which make it was taken up by several glass possible to follow a passion for artists as a medium, but there glass for shorter or longer periods has not really been space for the without daily financial worries. phenomenon here. Neither has Some grants are awarded and there been much focus on fusing others must be applied for. The Fig. 13. Maria Bang Espersen: and slumping, but that section of Danish Arts Foundation awards Stump and Double Bounce, the glass world makes use of a work grants and occasionally even 2013, H. left 32 cm, H. right technique that can be mastered a lifelong annuity. 88 cm. at a semi-professional or purely amateur level. Whether the results In recent years, the outside world contribution to Danish glass today are art will depend on the person has begun to notice the world- (fig. 12). who uses the technique. class glass art coming from Denmark, and Danes are So far and NOW The economical side of working beginning to believe it themselves as a glass artist has not been as well. However, they cannot This bouquet of elements of assessed. Some manage well, succeed without deliberate modern Danish glass could and it is often those we hear marketing. Just to mention a few justifiably have included many about. Others have difficulty stars in the constellation, Lene more. Choices have been made so making ends meet as full-time Bødker received the esteemed that typical examples have been glass artists and have to find a Japanese Kanazawa Glass Award introduced and individual balance where alternative work, in 2007 and in 2014 Karen Lise initiatives highlighted. First and such as teaching or as designers Krabbe won first prize at the foremost, there are indeed a large for others provides a more secure highly prestigious Coburg Glass number who deserve to be income, and we hear less often Prize at the major international mentioned, including glass artists, about them. A number are forced exhibition of modern glass art at designers, workshops, complete or to admit that it is not so easy to Coburg Castle in Germany. On the partial amateurs, exhibition live as a practising glass artist same occasion, the young Maria venues (museums and galleries), just now, when everything is Bang Espersen was awarded the and passionate contributors. With downsizing. Others discover that jury prize (fig. 13). These awards these inclusions, the picture it is extremely demanding to be show that Danish glass is well on would have been clearer and in the limelight with new its way to a place on the world better balanced. Not much has creations and marketing oneself, art scene.

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review_on_glass_4.indd 37 11/02/16 08:10 NEWS Book review

Miquel Àngel Capellà Galmés, Ars in Palma, and he is interested in investigation when the fashion for Vitraria. Mallorca (1300-1700). medieval and early modern glass bohemian glass provoked the Palma (Illes Balears): Edicions in Mallorca. This book derives spread all around Europe of UIB, 2015, pp. 248 (in Catalan). mainly from his PhD dissertation, potash-glass, of central European El vidre a Mallorca entre els tradition, and on the island the In the history of medieval and segles XIV i XVIII, discussed in most renowned Gordiola family modern European glass, the 2009 at the University of Palma. established the first of several multifaceted world of Spanish He is the author, among others, of Mallorcan glasshouses. The last production occupies a relevant papers related to several aspects one is still active today and is place, as documented by many of glass use and diffusion at already the subject of several important collections kept by Mallorca, including glass from studies. museums all around the world. monasteries and glass From the first historians of corporations. In approaching the The author’s familiarity with the Spanish glass at the beginning of subject of medieval and modern locals archives and reading first the 20th century (as J. Gudiol i glass, Galmés realized from the hand documents allows him to Cunill, J. Gudiol Ricart, P.M. De beginning of his investigations make available a quantity of Artiñano, or L. Pérez-Bueno) until that the integration of all available information. Of most interest is a today, the peculiarities of the information was essential in order detailed reconstruction of the main regional manufactures to try to reconstruct how glass history of glass collecting and of identified in Catalonia, Castile, production developed at Mallorca. the growth of the attention given and Andalusia have been Combining the study of archival by the scholars to glass, both in characterized by several scholars documents, iconography, Mallorca and Catalonia. These two mainly on the bases of archaeological finds, and glass glassmaking traditions, and the documentary sources, stylistic from collections, Ars Vitraria. one recorded in Valencia as well, approaches, and iconographic Mallorca (1300-1700) provides a unified under the common comparisons. On the contrary, substantial advance in the domain of the Corona catalano- available information derived from comprehension of the topic. aragonesa, are strongly archaeology is still scarce, leaving interconnected. This justifies the empty spaces concerning the The book covers more than 400 frequent reference made along identification of glasshouses and years of glass production and use the book to Catalan glass history the refining of attributions and on the island; from the very and the attempt of discriminating chronologies. Appearing in 2015, beginning, identified by between Mallorcan and Catalan Ars Vitraria. Mallorca (1300- documentary sources around the glass constitutes an issue of the 1700) by Miquel Àngel Capellà year 1327, until the first third of investigation. A relevant place is Galmés fills this gap for the glass the 18th century. The glass devoted to the Societat produced in the Balearic Island. produced during this long period Arqueològica Lul.liana, active shares the use of soda-lime between the end of the 19th and An art historian, Galmés teaches compositions using ashes from the beginning of the 20th century, at the Departament de Ciències coastal plants as a flux, following whose efforts strongly contributed Històriques i Teoria de les Arts of the Mediterranean tradition. The to the creation of the identity of the Universitat de les Illes Balears author intentionally stops his the Mallorca glass.

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by Teresa Medici. VICARTE

After a technological chapter Barovier, active on the island in devoted to the raw-materials 1605, soon moving to Madrid. A available locally and the group of Mallorcan families were production processes of pre- controlling the production during industrial glass, the core of the the 17th century, as Llorenç, book presents the glass in use at Calafat, Castanyer, and, mainly, Mallorca during the selected time Soberats. A profusion of glass frame. This section, divided in vessels in Venetian and Catalan two parts (14-15th and 16-17th style is available, both from century) benefits significantly by collections and archaeological the integration of data from contexts. Despite the existence of different origins. The abundance a local production, the import of documentary sources permits from Italy never stopped, as the author to reconstruct a vivid suggested by the inventories. picture of individuals and families Archaeology and investigation working and dealing with glass in developed by the author on Mallorca. Mallorcan private collections confirmed the presence on the The glass typology proposed for kingdom, like Catalonia and island of a significant corpus of each period is the result of Valencia, and France, promoted Venetian glasses. accurate analyses of archival the development of a local documents, including inventories, production with strong links to the A short final chapter illustrates contracts, finds from recent contemporary Europe; no the irruption on the scene of the archaeological excavations, intact influence from previous Islamic potash crystal in Bohemian style, specimens from collections, and glassmaking traditions has been arriving at the beginning of the iconographic comparisons with detected so far. The author 18th century, and marks the end local paintings and sculptures. The remarks that Mallorca glass is of the investigation. data from the written sources are recorded in inventories of continuously interlaced with the Florence, Italy at the beginning of A very useful DVD accompanies examination of the objects, helping the 15th century, which suggests the book, collecting the inventory in correct identification and that it could compete successfully of the finds and all documentary providing indicators on possible in the Mediterranean foreign sources quoted in the text. It origin and functions. The drawings markets. includes: a catalogue, composed of archaeological finds and good of 333 entries comprising color pictures of both glass objects From the 16th century onwards, production remains and fragments and iconographic sources help the increasing of the number of of glassmaking tools, each simplify the consultation. active glasshouses on the island provided with drawing and and the growing Venetian photograph; a series of useful During the 14th century, the influence had a relevant impact. lists compiled on the bases of the arrival in Mallorca of glassworkers The most famous glass master archive documentation dated from from other regions of the coming from Murano is Domenico the 14th to the 17th century

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(names of glass masters, glass collections held at the high level of completeness. We workers, glass dealers, and owner Vitromusée, Romont (CH) in can rely on his statement that it of glass furnaces, active in 2015 created the opportunity for is unlikely that a lot of Mallorca, Catalonia, Valencia, and the release of a catalogue that specimens, relevant for this Catalan France; names of objects will probably stay as a milestone subject, are still unknown and and its location at the interior of in the field of glass studies in that all significant glasses the building when the information Switzerland. available are considered, came from inventories); the including several unpublished transcription of 100 unpublished Focused on 16th and 17th examples. documents from Mallorca centuries, the exhibition and book archives, dated from 1329 to deal with a crucial period for Like every study concerning glass 1768, and of a book of recipes at Venetian glass when the in Venetian style found outside the Biblioteca Balear, at Palma, production reached its apogee Venice, this book also faces the dated 1841, including 23 and its reputation and status challenge of discriminating recipes; and a list of 242 favored not only the commercial genuine Venetian glasses, published inventories and related spreading of the objects, but also produced in Murano, from the bibliographic reference. the birth, all around Europe, of a quantity of objects imitating plethora of workshops producing them. This difficulty has affecting All scholars interested in medieval glass in the Venetian style, giving the glass market since the and early modern glass will way to the so called façon de beginning of the 17th century, as certainly welcome this book, Venise glass. remarked by the author on the joining old and new information bases of documents regarding the on both Catalan and Mallorca More than 300 pieces (158 intact Low Countries. In the introduction glass in a single work, whose objects and 170 fragments) from the author discusses the relevance oversteps the this period were collected by complexity of a phenomenon boundaries of the Balearic Island. Erwin Baumgartner, the curator of involving glass produced outside the exhibition and the author of Murano by expatriate Venetians, Erwin Baumgartner, Reflets de the book, from public and private glass produced by non-Venetian Venise. Gläser des 16. und 17. collections, as well as from glassmakers imitating the Jahrhunderts in Schweizer archaeological excavations, with Venetian style, or glass in which Sammlungen/Verres des XVIe et the aim to present a coherent the Venetian features are adapted XVIIe siècles de collections image of the façon de Venise to local tastes. Lacking a more suisses, Publications du glass used in Switzerland during reliable or unequivocal way of VitroCentre Romont. Peter Lang, the 16th and the 17th centuries. discriminating, the approach used Bern, 2015, pp. 347 (in German; The great knowledge of the is inevitably the qualitative one French translations are provided author, who has a notable record that is conventionally accepted by for the Foreword, the of previous publications on the the scholars. Nevertheless, the Introduction, and the topic (among others, the author is aware of the contributions devoted to catalogues of the Venetian and inadequateness of this approach. archaeological glass) façon de Venise glass collections This is due to the plausible of the Musée Ariana in Geneva existence in Murano of ateliers, The exhibition on Venetian and and of the Musée des Arts whose production is so far façon de Venise glass from Swiss Décoratifs in Paris), assures a unknown, working to suit

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customers’ tastes and resources Baumgartner in previous studies and creating glass with different and has now been confirmed by characteristics from the famous archeology, are also included. luxurious specimens. On the other hand, the use of qualitative As usual for this scholar, criteria increases the risk of each entry constitutes a short overestimating the attributions to essay. The sound analysis of the Venetian glasshouses. All this objects is substantiated by huge complexity is taken into account quantities of comparisons with when trying to distinguish published and unpublished between the pieces thought to be items, aiming to go beyond the genuine Venetian and the façon somehow mechanic attributions de Venise ones. Despite all echoed in the glass literature. efforts, the author admits that in This accuracy allows the author many cases such distinction is to formulate reliable not possible and after a considerations on attributions comprehensive consideration of is a distinctive mark that Erwin and dating, frequently discussing every available comparison the Baumgartner uses to give to his relevant issues. I will quote just a attribution proposed remains the work.1 At least in one case, not couple of examples. usual “Venetian or façon de only the thinness, but also the Venise”. extreme lightness of a goblet Cat. 12 (p. 59-61) is an makes the author sure about a enameled Venetian beaker used The catalogue of the intact Venetian origin (cat. no 64, p. as a reliquary, found in an altar objects, belonging to public and 164: 13.5 cm high, it weighs consecrated in 1513. It shows private Swiss collections, only 54 grams). Almost all the seal of Stephanus Tschuggli, occupies the central part of the shapes, types of glass, and who served as the suffragan book. All the glass exhibited is decoration techniques bishop in Chur from 1501 to reproduced in color photographs characterizing glass in Venetian 1538. This lucky combination of and in some cases with additional style are represented, including: dates gives the author the images of relevant details, for chalcedony jugs, enameled opportunity to stress how it is example from the decoration or beakers and bowls, footed cups, rarely possible to trace the history the inscription. The descriptions covered vases, engraved tazzas, of a Venetian glass from the include technical details that are cold painted dishes, millefiori, Renaissance back to the time of most useful for an exact filigree, and so on. Special its production. The first mentions understanding of the objects, emphasis is placed on stem glass of them are rarely datable before such as the number of the ribs or and goblets, presented in the 19th century. For 19th century if the object has been blown from profusion; several examples of the collectors the provenance of the one or more paraisons. For each type with stem and base objects was not an issue, so their glass, not only the dimensions are decorated by filigree, whose Swiss catalogues usually did not refer to recorded, but also the weight; this origin was proposed by it. So in most cases there is a gap

1. Few authors are used to provide this information, but for sure (although implying a demanding task) it is an example to follow, for this can help with comparison when a direct observation of the object is not possible.

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of almost three centuries between the first document on a piece and the time of its production.

Speaking about the chronology of the goblets with high baluster stem (cat. no 66-67, p. 168-171), whose dating according to literature spans from the 16th to the beginning of the 17th century, Baumgartner comments on the lack of a sound investigation into the transition, which occurred around the middle of the 16th century, from shapes still reflecting a Gothic taste to the next generation of objects. These appeared in such a refined exception to this are a couple of including the before mentioned form, apparently without any stem glasses (cat. 59-60, goblets with white filigree in foot intermediate model. By the way, p. 153-157), which the author and stem. also cat. no. 66 is susceptible to attributes without hesitation to the have an exact terminus ante Catalan production – and we can This catalogue is far beyond what quem at the year 1565. agree with him about the distinctive is required to accompany an character of these pieces. exhibition. Gathering for the first Particularly clear and detailed is time such a relevant quantity of the way the author tries to The final section of the book is specimens and linking glass from determine the manufacture date devoted to old and new Swiss collections to the glass of each glass, considering archaeological finds from certainly used here provided by iconography and archaeological Switzerland, and it includes archaeological excavations, it comparisons. When known, contributions of other scholars really offers a vivid picture of the information on the first historical such as A. Heege, C. Keller, and glass in Venetian style that was in mention of the specimen is R. Steinhauser-Zimmermann. use in Switzerland in the 16th included (see for example Notable are the reports on the and 17th centuries. Erwin the millefiori ball cat.no 44, Hallwil Collection of the National Baumgartner has succeeded in p. 125-127). Museum of Zurich, still today a collecting all relevant information reference for studies on glass on the subject and to discuss Excluding Venice, attributions to a found in Switzerland and to more crucial aspects of the specific region are rarely stated; recent findings from Pâturage de investigation on Venetian and in most cases a non-specific l’Envers (Canton of Bern). façon de Venise glass in general, façon de Venise origin is Discovered there where the stimulating a reflection on proposed, sometimes remains of a glasshouse active themes that are often taken for accompanied by a suggestion for between 1699 and 1714. The granted but that still need critical a location (Low Countries? house produced potash-lime glass review. This makes the book a Germany? France? Tuscany?). An in façon de Venise style, reference for future studies.

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GLASS CONGRESSES 22nd Annual Meeting of the European www.chrysler.org Association of Archaeologists www.glassart.org. 2016 Vilnius, Lithuania, 31 August-4 September 2016. 6. Internationale Symposium zur Session abstract: GLASS EXHIBITIONS Erforschung mittelalterlicher und http://eaavilnius2016.lt/wp-content/ frühneuzeitlicher Glashütten Europas uploads/2015/12/23.pdf. 2016 / 6th International Symposium on Call for paper/poster: http:// Medieval and Early Modern eaavilnius2016.lt/ Fundacion Centro Nacional del glassworks in Europe (deadline for submissions: 15 Vidrio, La Granja de San Ildefonso, Kulturpark Glashütte Buhlbach, February 2016). Segovia, Spain Baiersbronn (Baden-Württemberg), Tapio Wirkkala. A poet in Glass and Germany, 6-8 May 2016 Society of Glass Technology Silver. Collection Kakkonen www.kulturpark-glashuettebuhlbach.com Centenary Conference & European www.fcnv.es [email protected] Society of Glass Science and Technology 2016 Conference MAVA – Museo de Arte en Vidrio The Glass Art Society and the Glass – Back to the Future! de Alcorcón, Madrid, Spain Corning Museum of Glass Sheffield, UK, 4–8 September Frágil, colectiva de artistas checos, 45th Annual GAS Conference 2016 until 15 February 2016 “CREATING CONTEXT: GLASS IN A [email protected] Selection of works from the 2015 NEW LIGHT” www.esg2016.eu Glass Program of the Tomas Bata Corning, New York, U.S.A, The University in Zlín, Check Republic. Corning Museum of Glass, 9-11 AFAV – Association Française pour http://www.mava.es/component/ June 2016. l’Archéologie du Verre option,exposiciones/anioexpo,2015/ [email protected] Le verre du VIIIe au XVIe siècle en idexpo,62/lang,es/ www.glassart.org Europe occidentale / Glass in Western Europe AD 700-1600 Musée du Verre de Charleroi, ICOM Glass International Besançon, France, 5-7 December Marcinelle, Belgium: Committee 2016 Charleroi entre ombre et lumière. Le ICOM Glass Annual Meeting at the http://www.univ-fcomte.fr/afav2016/ vitrail dans l’espace privé 1880- 24th ICOM General Conference 1940, until 13 March 2016 Milan, Italy, 3-9 July 2016 2017 www.charleroi-museum.be http://network.icom.museum/glass/ [email protected] annual-meetings/coming-conference/ The Glass Art Society and the Chrysler Museum of Art - Perry Veste Coburg Art Collections and European Association of Glass Studio European Museum of Modern Archaeologists 46th Annual GAS Conference Glass, Rödental, Germany: A session entitled “Behind the “Reflections from the Edge: Glass, Illusion and reality. The nature of glass: new reflections on glass in Art, and Performance” glass, ceramics, and other materials, Iron Age societies” will be Norfolk, VA, U.S.A., 1-3 June from July 31, 2015 to April 3, organized on the occasion of the 2017 2016

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by Teresa Medici. VICARTE

This special exhibition is devoted Alexander Tutsek-Stiftung mudac - Musée de Design et to the specific properties of various Foundation, Munich, Germany d’arts appliqués contemporains materials. As well as looking at the LIFE IS NOT A BEACH, from 22 of Lausanne, CH, in cooperation different ways in which materials January 2016 to 24 June 2016 with the Reiss-Engelhorn such as glass, ceramics, stone, The exhibition addresses the dark Museums in Mannheim, it metal, and natural products can sides of life. One example is the brings together 30 outstanding be worked and processed, the oppressive world of drug addicts. pieces from the glass collection exhibition is particularly interested The photographer Matthieu Gafsou of the mudac - Musée de Design in theoretical questions, the documents these in his thirty et d’arts appliqués alteration and disguising of photographs in an authentic and contemporains of Lausanne, CH: surfaces, and the illusory aspects at the same time poetically works from the legendary of materials. After all, artists have sensible manner. The twenty “Fucina degli Angeli” in Venice been trying to make their materials sculptures, the second focus of (where artists such as Pablo look like other ones from time the exhibition, were made of the Picasso, Max Ernst and Jean immemorial. everyday and yet many-sided Cocteau implemented their http://www.kunstsammlungen-coburg. material glass as well as mixed designs in glass) and from the de/en/europaeisches-glasmuseum.php media. In their diverse works, Studio Glass Movement, and internationally renowned artists objects of contemporary creation. The Corning Museum of Glass, (including Philip Baldwin & http://www.rem-mannheim.de/ Corning, New York, U.S.A.: Monica Guggisberg, Mona ausstellungen/aktuell/zart-rau/ausstellung/ - America’ s Favorite Dish: Hatoum, Silvia Levenson, Janusz Celebrating a Century of Pyrex, Walentynowicz) and young artists until 17 March 2016 take a profound look at people’s GLASS NEWS - Constellation, until 20 March general fears as well as their inner 2016; and outer conflicts. The renewed glass museum in - Revealing the Invisible: The History http://www.atutsek-stiftung.de/en/ Murano, Venice, Italy, opened in of Glass and the Microscope, from ausstellungen.html February 2015 April 23, 2016 to March 19, 2017 Vitromusée Romont, Romont, A transformed museum reopened - Fragile Legacy: The Marine Switzerland its doors at Murano on February 9, Invertebrate Models of Leopold and Thierry Boissel, Le vitrail est mort, 2015, with the exhibition spaces Rudolf Blaschka, from May 14, vive le vitrail !, from 6 December almost doubled and the layout 2016 to January 8, 2017 2015 to 10 April 2016 renewed. www. cmog.org www.vitromusee.ch http://museovetro.visitmuve.it/ [email protected] The Chrysler Museum of Art Glassblowing in the UNESCO Norfolk, Virginia, U.S.A.: Reiss-Engelhorn-Museen Intangible Cultural Heritage list Norwood Viviano “Cities: Departure Mannheim - Museum Zeughaus and Deviation”, from January 30 to C5, Mannheim, Germany: From 2015, the “Manual glass July 31, 2016 “ZART & RAU”, until 16 May 2016 production” is on the German http://www.chrysler.org/ An exhibition organized by National Inventory of Intangible

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Cultural Heritage – German Corning, Corning Museum of Info: http://www.storiadelvetro.it/ commission for UNESCO. Glass. pubblicazioni/pubblicazioni_veneto_ http://www.unesco.de/en/kultur/ Info: http://glassmarket.cmog.org/ post_6.html immaterielles-kulturerbe/german- inventory/inscription/manual-glass- Aldo Bova & Puccio Migliaccio (a Sofia Cingolani, I vetri del production.html cura di), Vetri artistici. La Fratelli museo archeologico di Toso e la produzione muranese di Tripoli, Oxford Archaeopress fine Ottocento. Museo del Vetro (Archaeopress Roman NEW CATALOGUES OF GLASS di Murano, Corpus delle Archaeology 7) 2015. MUSEUMS AND COLLECTIONS: Collezioni del Vetro post-classico Available both in printed nel Veneto, 6. Venezia, and e-versions David Whitehouse, Cage Cups. Regione del Veneto, Marsilio, Info: http://www.archaeopress.com/ Late Roman Luxury Glasses, 2015.

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Projects on ancient glass: 1. Enhancing and preserving a 1st century A.D. It is one of the private supports for public special loan: the “Blue Vase” most important works in cameo cultural heritage glass to have survived. The famous The famous cameo glass vase piece was found in Pompeii in Two recent projects carried out known as the “Blue Vase” in the 1837 in a monumental tomb of in Milan (Italy) are good collection of the Naples the so-called “Street of the examples of private supports for Archaeological Museum arrived sepulchers” of the Porta Ercolano public cultural heritage safety at the “Myth and Nature. necropolis. It is unknown how it involving ancient glass and From Greece to Pompeii” became the property of someone museums. exhibition (underway in Milan until buried in Pompeii shortly before January 10, 2016) thanks to a the eruption, but it is an Both of the projects were special partnership with Bracco exceptional documentation of the made possible from private Foundation. A new anti-earthquake artistic life and glassmaking art in loans, enhancing the cultural and shatterproof display case was the first Roman imperial age. heritage, and can be created for the piece and will considered a best practice. return with it to Naples after the An anti-earthquake case for the Blue These temporary exhibitions exhibition ends. vase provided the occasion to carry out permanent interventions History The blue vase of Pompeii makes that support cultural heritage an exceptional appearance in and benefit the community and The blue glass vase with scenes of Milan at the “Myth and Nature” the general public who attend white cupids harvesting grapes exhibition in Palazzo Reale, museums. dates back to the first half of the displayed in a technological and

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by Teresa Medici. VICARTE

aluminum elements with concave Lombardy guaranteed the scientific internal sides with caged steel aspects of the intervention, the spheres set inside the wheels, respect of the law, and the safety which act as a shock absorber of the amphora itself. against any accidental knock or earthquake. The plywood panel The vase’s bad state of cannot touch the glass dome, conservation prevented the since it is adjusted to the feet’s amphora from being exhibited maximum range of extension. prior, but after the end of the exhibition at Vitrum fair, the newly- In addition, the case will protect restored amphora is now on the work when it returns to the display at the Antiquarium “Alda Naples Archaeological Museum. Levi” in Milan, a museum devoted The participation of Bracco to the theme of ancient spectacles. Foundation in the project, supporting the construction of the In addition, the supports for the The “Blue Vase”. Photograph: case, not only made the exceptional amphora in the new showcase © Ministero dei Beni culturali loan possible, but also represents were been made by glass artisans e delle Attività Culturali e del a concrete and lasting intervention who donated them to the museum Turismo, Museo Archeologico Nazionale di Napoli. Courtesy aimed at enhancing the cultural (Artigiani Riuniti Vetrai). of Mondadori Electa S.p.a. heritage conserved in museums. History 2. Restoration of Roman Amphora specially created case that rests on with gladiator scene The glass bottle was found at a self-stabilizing base that absorbs Acqui Terme (AL) in 1933, in a any shock waves and ensures the The fair “Vitrum 2015”, held at necropolis that was discovered object’s stability even in an “Fiera di Milano” in October from during work on a nearby clay earthquake. 6th to 9th 2015, provided the quarry along the Via Aemilia occasion to restore an important Scauri. The archeological finding In particular, the case has a Roman glass amphora dated was taken to a local collector, special features, including: a between the end of 1st and Augusto Scovazzi, from whom the bearing structure of 50 x 50 x 3 mm beginning of 2nd century A.D. collector Antonio Strada of arc welded steel tubes; it is clad Scaldasole (PV) purchased the in 20 mm marble stone with a Vitrum S.p.A. and I.C.E. - Italian bottle from around the 1950s. It channel for housing the glass; Trade Promotion Agency supported was restored to be displayed in extra clear 10/11 shatterproof the restoration of the amphora for an exhibition on ancient glass crystal glass with safety screws the exhibition “Glass. The great artifacts in Milan in 1964 and and with corners in stainless steel; unexpected”; the Italian National since then it has not been shown and the base is 20 mm plywood Committee of A.I.H.V. organized in public. The bottle is made of fixed to three self-stabilizing feet. the entire project; and the rather thick light-green glass. The feet are made up of two cast Archaeological Superintendence of Mould-blown, a gladiator scene

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and inscriptions appear on the an adhesive and filling in the gaps bottom. On the right is a had deteriorated and was opaque mirmillo, a gladiator with a and yellow. headpiece that covers his face entirely, ready to strike his The microscope showed that opponent. On the left side is a abrasions covered almost the retiarius, a gladiator with a net. entire outside surface of the body. The details of his head are not This was probably due to its use clear, but he appears to be during ancient times, when the wearing a helmet. The bottle was in contact with other inscriptions in capital letters containers during transport, and The glass anfora at the exhibition along the short edges at the from mechanical stress due to “Glass. The great unexpected”. bottom are possibly the names of previous restoration work. The Photograph: Kriterion s.n.c. the fighters: the winner SIRAIO, cleaning method involved using since he is shown with a palm controlled solvent baths to soften tree branch, and P [or B?] ESCE the remaining resin residues, support the considerably heavier (Pescennius?) the defeated which were then removed with soft upper part. The gluing resin was opponent. brushes, scalpels, and swabs dripped into the gaps with straws, under a microscope. inside sealed dental silicone Medium and small bottles of this moulds with a bottom-up shape. kind were common between the Putting the bottle together again The resin used to reconstruct the late 1st and 3rd centuries A.D., was particularly complex, due to missing parts was colored with especially in the western part of its shape and thickness; the bottle micro pigments to obtain a similar the Roman Empire. They may have was assembled upside-down to shade of colour to the glass. been used to store food (the only analysis made on the residues indicates a mix of spiced meat), Credits: but have also been found as 1. The “Blue Vase”. Text and financial support: Fondazione Bracco - Progetti funeral urns in burial sites or as Culturali, Milano. containers for coins. Photograph: ©Ministero dei Beni culturali e delle Attività Culturali e del Turismo, Museo Archeologico Nazionale di Napoli. Courtesy of Mondadori Electa S.p.a. Restauration www.fondazionebracco.com http://www.mostramitonatura.it/it/home.html The amphora was in many 2. The amphora with gladiator scene. Text: Maria Grazia Diani, Italian National fragments as it had been Committee of the AIHV - International Association for the History of Glass; Rosanina previously reassembled and the Invernizzi, Lombardy Archeological Superintendence, Milan; Silvia Ferucci, Kriterion s.n.c., Bologna. missing gaps filled in. The glass Photographs by Kriterion s.n.c. had not deteriorated on the Restoration by Kriterion s.n.c. surface, but was covered with abrasions and a fine Financial support: Vitrum S.r.l., Milan; ICE-Agenzia per la promozione all’estero e l’internazionalizzazione delle imprese italiane – ITA-Italian Trade Agency; Artigiani layer of dust. It also had excessive Riuniti Vetrai – Arvet s.n.c. amounts of adhesive in certain www.arvet.it points. Some parts had been put http://www.parcoanfiteatromilano.beniculturali.it together badly; the resin used as

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review_on_glass_4.indd 47 11/02/16 08:10 MEMORIES Annual meeting in Bratislava, Slovakia, 2013

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review_on_glass_4.indd 48 11/02/16 08:10 General Conference in Rio de Janeiro, Brazil, 2013

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review_on_glass_4.indd 49 11/02/16 08:10 MEMBERS INSTITUTIONAL MEMBERS INDIVIDUAL MEMBERS Ms. Marjut KUMELA Helsinki, FINLAND ALEXANDER TUTSEK-STIFTUNG Eva-Maria FAHRNER-TUTSEK AUSTRIA FRANCE München, GERMANY http://www.atutsek-stiftung.de Ms. Carola Marie SCHMIDT Mlle. Verónique AYROLES Hallein, AUSTRIA Paris, FRANCE SCHLOSSMUSEUM BRAUNSCHWEIG Mme. Anne-Laure CARRÉ Helena HORN Dr. Phil. Ulrike SCHOLDA MUSÉE DES ARTS ET MÉTIERS, CONSERVATOIRE Braunschweig, GERMANY Baden, AUSTRIA NATIONAL DES ARTS ET MÉTIERS http://www.braunschweig.de/kultur_tourismus/museen_ Paris, FRANCE gedenkstaetten/schlossmuseum/index.html BELGIUM http://www.arts-et-metiers.net THE TOLEDO MUSEUM OF ART Mr. Luc ENGEN Mme. Annie Claire DUCREUX Jutta-Annette PAGE Liège, BELGIUM Paris, FRANCE Toledo OH USA http://www.toledomuseum.org Mme. Rina MARGOS Mme. Isabelle DUTTER-GEORGES MUSÉE DU VERRE Dunkerque, FRANCE KNAUF GIPS KG KNAUF-MUSEUM IPHOFEN Charleroi, BELGIUM Mr. Markus MERGENTHALER/Mr. Lothar Knauf http://www.charleroi-museum.org Natacha FRENKEL Iphofen, GERMANY ATELIER ART’S DU FEU http://www.knauf-museum.iphofen.de Mr. Willy VAN DEN BOSSCHE Elven, FRANCE Schoten, BELGIUM MUSÉE DE L’ECOLE DE NANCY Mr. Jean-Luc OLIVIÉ Mme. Valérie THOMAS BRAZIL LES ARTS DÉCORATIFS Nancy, FRANCE Paris, FRANCE www.ecole-de-nancy.com Dra. Regina LARA SILVEIRA MELLO http://www.lesartsdecoratifs.fr Mackenzie Presbiterian University, São Paulo, Brazil MUSÉE DU VERRE DE CHARLEROI VICARTE, Lisbon, Portugal Mme. Emilie RAMBAUD Mme. Rina MARGOS www.vicarte.org Paris, FRANCE Marcinelle, BELGIUM http://www.charleroi-museum.org Elvira SCHUARTZ Mme. Françoise REGINSTER ESPAÇO ZERO, INSTITUTO DO VIDRO CONSERVATION DÉPARTEMENTALE, DÉPARTEMENT MUSÉE LALIQUE São Paulo, BRAZIL DU LOIRET Mme. Veronique BRUMM www.espacozero.com.br Orléans, FRANCE Wingen-Sur-Moder, FRANCE www.musee-lalique.com CANADA Mme. Liliana SCOTEE Paris, FRANCE MUSÉE-ATELIER DÉPARTEMENTAL DU VERRE Jay MACDONELL Mme. Anne VANLATUM THE ART GALLERY OF GREATER VICTORIA Mme. Anne VANLATUM Sars Poteries, FRANCE Victoria, CANADA MUSÉE-ATELIER DÉPARTEMENTAL DU VERRE http://museeduverre.lenord.fr/fr/Accueil.aspx www.aggv.ca Sars Poteries, FRANCE http://museeduverre.lenord.fr/fr/Accueil.aspx MUSÉES BACCARAT CZECH REPUBLIC Mme. Michaela LERCH-MOULIN Mme. Catherine VAUDOUR Paris, FRANCE Dr. Milan HLAVES Mantes la Jolie, FRANCE http://www.baccarat.fr/fr/univers-baccarat/patrimoine/ UMELECKOPRUMYSLOVÉ MUSEUM V PRAZE musees.htm (MUSEUM OF DECORATIVE ARTS PRAGUE) GERMANY Praha, CZECH REPUBLIC MUSEU DO VIDRO DA MARINHA GRANDE http://www.upm.cz Dr. Susanne EVERS Catarina DE SOUSA CARVALHO STIFTUNG PREUßISCHE SCHLÖSSER UND GÄRTEN Marinha Grande, PORTUGAL Mrs. Markéta VEJROSTOVA BERLIN-BRANDENBURG http://ww2.cm-mgrande.pt Brno, CZECH REPUBLIC Potsdam, GERMANY http://www.spsg.de REGIONE LOMBARDIA - DIREZIONE GENERALE DENMARK CULTURE,IDENTITÀ E AUTONOMIE DELLA LOMBARDIA Mrs. Ruth FABRITIUS Mme. Maria Grazia Diani Mrs. Dagmar BRENDSTRUP GLASMUSEUM RHEINBACH Milano, ITALY GLASMUSEET. Rheinbach, GERMANY http://www.cultura.regione.lombardia.it Ebeltoft, DENMARK [email protected] Dr. Anna-Barbara FOLLMANN-SCHULZ RÖHSSKA MUSEET (RÖHSSKA MUSEET FÖR MODE,DESIGN Bonn, GERMANY OCH KONSTSLÖJD) Mr. Jørgen HEIN Mr. Ted HESSELBOM THE ROYAL DANISH COLLECTIONS Dr. Sven HAUSCHKE Goteborg, SUEDE København K, DENMARK EUROPÄISCHES MUSEUM FÜR MODERNES GLAS http://www.rohska.se http://dkks.dk/English Coburg, GERMANY SHANGHAI MUSEUM OF GLASS Susanne JOHNSEN Dr. Katrin HOLTHAUS Mr. Xiaowei ZHUANG KUNSTAKADEMIETS DESIGNSKOLE BORNHOLM Petershagen, GERMANY Shanghai, CHINA Bornholm, DENMARK http://www.shmog.org www.dkds.dk/Bornholm Dr. Margret HONROTH Bonn, GERMANY CONTINIUM-DISCOVERY CENTER KERKRADE Mag. Jan KOCK Kerkrade, NETHERLANDS Højbjerg, DENMARK Dr. Rüdiger JOPPIEN Mijke HARST-VAN DEN BERG MUSEUM FÜR KUNST UND GEWERBE http://www.industrion.nl Mrs. Birte POULSEN HAMBURG Odense C, DENMARK Hamburg, GERMANY UMELECKOPRUMYSLOVÉ MUSEUM V PRAZE (MUSEUM www.mkg-hamburg.de OF DECORATIVE ARTS PRAGUE) Mrs. Berit RASK Dr. Milan HLAVEŠ Holte, DENMARK Dr. Dedo von KERSSENBROCK-KROSIGK Praha, CZECH REPUBLIC STIFTUNG MUSEUM KUNSTPALAST http://www.upm.cz Mr. Jørgen SCHOU-CHRISTENSEN Düsseldorf, GERMANY Vanløse, DENMARK www.smkp.de MUZEUM SKLA A BIŽUTERIE V JABLONCI NAD NISOU (MUSEUM OF GLASS AND JEWELLERY IN JABLONEC NAD Mr. Torben SODE Dr. Käthe KLAPPENBACH NISOU) Bronshoj, DENMARK Potsdam, GERMANY Milada VALECKOVÁ Petr NOVÝ FINLAND Dr. Jens KRÖGER Jablonec Nad Nisou, CZECH REPUBLIC Berlin, GERMANY http://www.msb-jablonec.cz Ms. Kaisa Marjatta KOIVISTO Mr. Heikki Olavi MATISKAINEN Dr. Ingeborg KRUEGER SUOMEN LASIMUSEO (FINNISH GLASS MUSEUM) Bonn, GERMANY Riihimäki, FINLAND www.suomenlasimuseo.fi

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review_on_glass_4.indd 50 11/02/16 08:10 Dr. Hannelore E. MARSCHNER PORTUGAL Sarah KELLER München, GERMANY VITROCENTRE/VITROMUSÉE Maria João BURNAY Romont FR, SWITZERLAND Dr. Susanne NETZER PALÁCIO NACIONAL DA AJUDA www.vitrocentre.ch KUNSTGEWERBEMUSEUM BERLIN Lisbon, PORTUGAL Berlin, GERMANY www.palacioajuda.pt Mr. Otto-Jolias STEINER http://www.smb.museum/museen-und-einrichtungen/ STEINER SARNEN AG FÜR KOMMUNIKATION kunstgewerbemuseum/home.html Dra. Teresa MEDICI Sarnen, SWITZERLAND VICARTE Dr. Helmut RICKE Lisbon, PORTUGAL Mme. Bettina TSCHUMI Dusseldorf, GERMANY www.vicarte.org MUDAC - MUSÉE DE DESIGN ET D’ARTS APPLIQUÉS CONTEMPORAINS Lausanne, Mrs. Karin RÜHL Prof. Dr. António PIRES DE MATOS SWITZERLAND GLASMUSEUM UNIVERSIDADE NOVA DE LISBOA, FACULDADE http://www.mudac.ch Frauenau, GERMANY DE CIÊNCIAS E TECNOLOGIA www.glasmuseum-frauenau.de Lisbon, PORTUGAL UNITED KINGDOM www.vicarte.org Ms. Bettina K. SCHNEIDER Wendy EVANS Berlin, GERMANY ROMANIA London, UK Mrs. Siegmut SEEGER Mrs. Simona Violeta GHEORGHE Mr. Peter HARDIE Bonn, GERMANY MUZEUL OLTENIEI CRAIOVA (THE REGIONAL Bristol, UNITED KINGDOM MUSEUM OF OLTENIA) Dr.-Ing. Manfred TORGE Craiova, ROMANIA Suzanne HIGGOTT Hoppegarten, GERMANY www.muzeulolteniei.ro THE WALLACE COLLECTION London, UK GUATEMALA RUSSIAN FEDERATION www.wallacecollection.org Sra. Susana CAMPINS Oxana LOPATINA Mr. Reino LIEFKES MUSEO VICAL DE ARTE PRECOLOMBINO Y VIDRIO THE PUSHKIN STATE MUSEUM OF FINE ARTS VICTORIA AND ALBERT MUSEUM MODERNO Moskva, Russian Federation London, UNITED KINGDOM La Antigua, GUATEMALA www.pushkinmuseum.ru www.vam.ac.uk http://[email protected] SLOVENIA Ms. Janet Hume NOTMAN ISRAEL Edinburgh, UNITED KINGDOM Mr. Joze RATAJ Mrs. Yael ISRAELI POKRAJINSKI MUZEJ CELJE (REGIONAL MUSEUM Mrs. Jennifer OPIE Jerusalem, ISRAEL CELJE) Teddington, UNITED KINGDOM Celje, SLOVENIA Mrs. Ayala LESTER www.pokmuz-ce.si Dr. Oliver WATSON ANTIQUITIES AUTHORITY London, UNITED KINGDOM Jerusalem, ISRAEL SPAIN USA ITALY Sra. Teresa CARRERAS ROSSELL Barcelona, SPAIN Mrs. Kelly Ann CONWAY Luciana MANDRUZZATO THE CORNING MUSEUM OF GLASS Trieste, ITALY Sra. María Cristina GIMÉNEZ RAURELL Corning, NY, USA MUSEO CERRALBO www.cmog.org Giulia MUSSO Madrid, SPAIN MUSEO DELL’ARTE VETRARIA ALTARESE http://museocerralbo.mcu.es Dr. Amy GOLAHNY Altare, SV, ITALY State College, PA, USA www.museodelvetro.org Sra. María Luisa MARTÍNEZ GARCÍA MUSEO DE ARTE EN VIDRIO DE ALCORCÓN (MAVA) Mr. Sidney M. GOLDSTEIN Giuseppe PERICU Alcorcón (Madrid), SPAIN Saint Louis, USA Genova (Italy) www.mava.es Ms. Amy MCHUGH Chiara SQUARCINA Dra. Cristina MUR DE VIU Parsippany, NJ, USA FONDAZIONE MUSEI CIVICI DI VENEZIA PATRIMONIO NACIONAL, PALACIO REAL DE MADRID Venezia, ITALY Madrid, SPAIN Prof. William E. RAY http://www.visitmuve.it/ www.patrimonionacional.es REED COLLEGE, FRENCH DEPARTMENT Pórtland, USA JAPAN Dra. Paloma PASTOR REY DE VIÑAS MUSEO TECNOLÓGICO DEL VIDRIO Ms. Jane Shadel SPILLMAN Ms. Ruriko TSUCHIDA San Ildefonso, Segovia, SPAIN Corning, NY, USA SUNTORY MUSEUM OF ART www.fcnv.es Tokyo, JAPAN Dr. Karol B. WIGHT ttp://www.suntory.com/sma/ SUEDE THE CORNING MUSEUM OF GLASS Corning, NY, USA LATVIA Dr. Karl Johan KRANTZ www.cmog.org SMÅLANDS MUSEUM (THE SWEDISH GLASS MUSEUM) Ms. Ilze MARTINSONE Växjö, SUEDE Ms. Diane C. WRIGHT MUSEUM OF ARCHITECTURE www.kulturparkensmaland.se CHRYSLER MUSEUM OF ART Riga, LATVIA Norfolk, VA, USA www.archmuseum.lv Mr. Anders REIHNÉR www.chrysler.org Hägersten, SUEDE LUXEMBOURG SWITZERLAND Malou MAJERUS LUXEMBOURG Erwin BAUMGARTNER Basel, SWITZERLAND NETHERLANDS Mrs. Susanne BRENNER KIPFER Dr. Clasina ISINGS Gümligen, SWITZERLAND Soest, NETHERLANDS Mlle. Sylvia FÜNFSCHILLING Dr. Pieter Cornelis RITSEMA VAN ECK Augst, SWITZERLAND ’s-Gravenhage, NETHERLANDS http://www.augusta-raurica.ch NORWAY Dr. Christine KELLER LÜTHI SCHWEIZERISCHES LANDESMUSEUM (MUSÉE Mrs. Randi GAUSTAD NATIONAL DE LA SUISSE) Oslo, NORWAY Zürich, SWITZERLAND http://www.musee-suisse.ch

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