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Glass Shards Fall 2010 GlassNEWSLETTER OF THE NATIONAL Shards AMERICAN GLASS CLUB www.glassclub.org Founded 1933 A Non-Profit Organization Fall 2010 When East Meets West at Corning A new exhibit opening at The Corn- that porcelain was a vitreous, not Eastern decorative styles on Western ing Museum of Glass East Meets clay-based, substance. The alchemi- markets and objects,” said curator of West: Cross-Cultural Influences in cal knowledge needed to create glass European glass Florian Knothe. “With Glassmaking in the 18th and 19th Cen- imitating porcelain was transferred this exhibition, we will showcase an turies begins November 18, 2010, and from glassmaker to glassmaker across incredible cultural and technological explores the cultural exchanges of exchange that is, in fact, much more glass techniques and styles between textured and fluid, with channels of East Asia and Western Europe. influence running in both directions. When East met West in the courts The role of Western craftsmen and and trade centers of the 13th century, scientists—such as Stumpf—in facili- a fruitful international exchange was tating advancements in Eastern glass born and lasted through several centu- manufacturing cannot be overlooked.” ries. This exhibition will explore the Drawing on the long tradition of por- resulting cross-cultural influences in celain making, glassmakers in China technology, scientific experimenta- blew and enameled opaque white tion, and decoration among glassmak- glass for foreign and local markets. ers in Europe, China, and Japan in the The Museum’s scientific analysis by 18th and 19th centuries. X-ray fluorescence of a few of these Through a range of Museum objects objects in its collection has revealed from the early modern period, East that the composition of some of the Meets West: Cross-Cultural Influenc- white glass used in the East is closely es in Glassmaking in the 18th and 19th related to the milk glass made by Ger- Centuries will document the Europe- man craftsmen. In East Meets West, an adoption of traditional Asian styles Knothe suggests that a connection to and iconography, and examine the Chinese-style cameo vase, probably the community around Stumpf may be largely overlooked impact of West- Thomas Webb & Sons, England, about 1890 the reason for such results. erners—missionaries, alchemists, Although the Chinese absorbed and craftsmen—on the development the Continent. Their efforts resulted in Western glassmaking formulas and of new glassmaking techniques and the production of a variety of opaque technology, they did not borrow Euro- formulas in the East. white “milk glass” objects, which pean forms or decorative techniques. The extension of the Silk Road found a market alongside imported Instead, they carried over approaches to Italy in the age of Marco Polo (and, eventually, European-made) from indigenous crafts such as por- (1254-1324) brought Eastern goods to porcelain, satisfying the fashion for celain making and hardstone carving Europe, where such exotica was trea- enameled chinoiserie-style objects. and further enriched their stylistic rep- sured. Influential tastemakers such as The new milk glass recipes were ertoire by using European glassblow- Grand Duke Ferdinando I de’ Medici subsequently brought to Asia by Eu- ing and cutting methods. The exhibi- and Elector Christian I of Saxony ropean Christian missionaries, along tion showcases this dual influence became enthusiastic collectors of with other glassmaking formulas and with several examples of cameo glass Chinese porcelain, sparking a demand skills that revolutionized the industry vessels, in which the Western tech- that spread beyond the courts. This in China. One such missionary and nique of overlaying opaque glasses growing fascination with porcelain scientist, Kilian Stumpf, organized a of different colors is combined with goods inspired imitation, and scien- glassworks in Beijing in the 1680s, local carving techniques and icono- tists throughout Europe attempted to extending the influence and innova- graphic style. replicate the material. tions of European alchemists to East Corning Museum of Glass One Mu- These early experiments were Asia. seum Way, Corning, NY closely linked to glassmaking, based “Until now, scholars have tended to (800) 732-6845 www.cmog.org on a longstanding misconception focus primarily on the influence of Glass Shards Page 2 President’s Letter British Victorian Glass 49th Annual Seminar at at the Chrysler Corning Dear Friends, – The Chrysler Museum of Art is October 14-16, 2010 join glass Here in Florida it has been a long, hot expecting a British invasion this fall. specialists from around the world summer, and we are looking forward to As a complement to London Calling: for a stimulating seminar of lectures, cooler weather and the end of the hur- Victorian Paintings from the Royal ricane season in November. glassmaking demonstrations, tours Holloway Collection, the Museum with curators, and lively networking Our industrious Membership Chairman presents 50 glass objects made in Jim Davidson completed the new NAGC opportunities. Britain from 1837–1901. Cheers to th Membership Directory for 2010-2011 for The 49 Annual Seminar on Glass inclusion with your renewal forms. If you Queen Victoria! British Glass from complements the Museum’s 2010 haven’t already done so, please take a few the Chrysler Collection is free, and exhibition, Medieval Glass for Popes, minutes to complete and return the form the exhibition is on view to Febru- Princes, and Peasants, the first exhi- and your check for dues. ary 2011. The range of decorative bition of its kind in the United States. In these economically difficult times I styles during this period, from Gothic The exhibition curator, Dr. David have also been reminded frequently of the Revival to Art Nouveau, and the ad- Whitehouse, and other experts will financial squeeze currently affecting the vancement of technologies caused an present the latest research on glass not-for-profit museums, both large and explosion of creative output in British small, which display significant collec- vessels dating from the fall of the Ro- glass manufacturing. man Empire to the rise of the Renais- tions of glass that many of us have en- The reign of Queen Victoria from joyed visiting. To the extent you are able sance. Artist and historian William to assist these institutions with a donation; 1837–1901 was a golden age of Gudenrath will discuss and demon- I know that it would be appreciated. Two industrial and commercial expan- strate period glassworking techniques. of the most recent requests I have received sion in Britain. The Great Exhibi- Lecture topics will include: from institutions in particularly difficult tion of the Works of Industry of all Medieval glass and Glassmaking circumstances came from the Houston Nations, held in 1851 in London’s Dr. David Whitehouse, executive Museum of Decorative Arts, 201 High Hyde Park, was intended to show off director of the Museum St., Chattanooga, TN 37403 and The the advancement and superiority of Medieval glass and how it was made New Bedford Museum of Glass, P.O. Box British manufactured goods to the 8935, New Bedford, MA 02740. These William Gudenrath, resident ad- world. British citizens, including a viser of The Studio are two of many institutions worthy of growing middle-class population, your support. I challenge our discerning Wine and drinking in the late Middle members to determine which institutions were exposed to a vast international Ages they consider most worthy and to make a world of design, technology, and the Azélina Jaboulet-Vercherre, Ph.D. commitment of money or time to ensure arts. This exposure, however, caused Candidate in History that they continue to exist in the future. a period of national self-examination Heraldry and the continuous applica- Incidentally, the grand opening of the new and criticism. Britain may have led tion of a medieval art form in glass galleries of the NBMOG at 61 Wamsutta the way in manufacturing expertise Florian Knothe, curator of Euro- Street was held on Saturday, September 11 and output, but France and other pean glass at the Museum Check the last page of your Summer nations surpassed her in creative and 2010 Glass Club Bulletin (No. 217) for The history of the legendary Hedwig artistic design. The design of glass, beakers the latest information on the July 7-9, both unique and mass produced, was 2011 Seminar mega convention. Our Dr. Jens Kröger, retired curator goal is to have a unique and educational at the Museum für Islamische Kunst, event at a reasonable price. Looking even Berlin, Germany further ahead to 2012, we have received Revival and reinterpretation in 19th- invitations from both New Orleans and and 20th-century glass Toledo to consider a return visit. Tina Oldknow, curator of modern Yet again I would like to commend our glass at the Museum tireless Webmaster Francis Allen for the enormous amount of time and effort Medieval stained glass and its archi- he devotes to maintaining our website tectural context at www.glassclub.org. For the histori- Dr. Timothy Husband, Curator in cally inclined, he has posted a variety of the Department of Medieval Art and interesting pictures (and is always seeking The Cloisters new additions) tracking our seminars Living standards in the Middle Ages since 1976. I know that there is a great Dr. Richard Hodges, Williams appreciation of his work among our mem- Director of the University of Pennsyl- bership because of the unsolicited praise vania Museum of Archaeology and I often receive for his efforts. Francis Anthropology also keeps us up to date on news related English Basket, ca. 1875 Responses to medieval art and to glass. He recently called attention to a Blown, crimped, applied, and tooled glass th Wall Street Journal article of August 29, Gift of Walter P. Chrysler, Jr. craftmanship in the late 19 - and early 20th-centuries 2010 on the increasing importance of the regarded as an essential part of the glass industry in China.
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