Design Glass Objects: the Portuguese Panorama
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arts Article Design Glass Objects: The Portuguese Panorama Teresa Almeida 1,2 1 Faculdade de Belas Artes, Universidade do Porto, 4049-021 Porto, Portugal; [email protected] 2 VICARTE, Research Unit “Glass and Ceramics for the Art”, Faculdade de Ciências e Tecnologia, Universidade NOVA de Lisboa, 2829-516 Monte da Caparica, Portugal Received: 18 May 2020; Accepted: 8 July 2020; Published: 12 July 2020 Abstract: The aim of this study is to analyze the convergence of art, design and craftsmanship for the creation of glass objects within the context of the 20th and 21st centuries, in the Portuguese panorama. In the late 1920s and 1950s, Portuguese artists established a growing collaboration with the glass industry situated in the Marinha Grande region and started to produce their work alongside glassblowers. The relationship between artists and craftsmen progressively evolved, influencing the evolution of glass design in Portugal. In the last decades, glass factories have tried to enhance the excellence of their products by appointing designers to develop more elaborate concepts for glass pieces, as well as to improve the quality of the material. This essay will answer questions regarding the relationship and boundaries between design and craft in the creation of glass objects in the context of the state of the art of Portuguese glass design, related to the production of glassblowing glass and the region of Marinha Grande due to its historical importance. A case study will be presented regarding the brand MGlass and the new glass designers in the region. Keywords: glass design history; glassblowing case studies; glass art/design; craft; new designers 1. Introduction The invention of glass was one of the most important events in the history of mankind. In the book ‘Great Scientific Experiments: Twenty experiments that change our view of the world,’ Rom Harré refers to twenty scientific advances which were relevant to our civilization, sixteen of which would not have been possible without the use of glass (Macfarlane and Martin 2002). Some of the main features of glass, such as transparency, brightness and versatility, make it a vibrant material for artistic creation. Many innovative pieces of contemporary glass art result from years of investigation and experimentation with this material. Portugal has a long history in glass tradition, especially in the glassblowing industry, which has existed since the middle of the 15th century (Barros [1969] 1998; Valente 1950). Nevertheless, artists (or designers as we nowadays consider them) were not included in this tradition. It was not until the 20th century that the specific field of ‘aesthetic’ art innovation (or design) started to be praised, and more artists who were working with glass opened up a path for designers into the glass industry. Since working with glass requires a deep understanding of its properties, its potentials and limitations following a modus operandis, the industry has developed so as to accommodate both craftsmen and artists/designers, the former being skilled in the modus operandis and the latter in aesthetics. This has resulted in a harmonious relationship in which the designers/artists formulate the drawings and the glassblowers execute the pieces. This paper provides a historical overview on the origins of glass design in Portugal, focusing on the Marinha Grande glassblowing industry with the case study of the MGlass brand. The relationship between craftsmen and designers will be discussed, as it took a particular path in Portugal during most the 20th and 21st century. Designers from Marinha Grande and those who work in the region will be presented identifying collections and events. Arts 2020, 9, 79; doi:10.3390/arts9030079 www.mdpi.com/journal/arts Arts 2020, 9, 79 2 of 15 2. History and Tradition of Glassblowing in Portugal The history of glassblowing in Portugal dates back to the 15th–16th centuries. At that time, one of the most important contributors towards the development of the glassblowing industry was the Côvo Factory, located in Oliveira de Azeméis (Aveiro, central Portugal). This factory was the oldest of its kind and operated the first large-scale production in the North coast of Portugal (Coutinho 2016). The information available explains that the factory produced utilitarian objects and operated until 1924 (Medici 2014), although according to Coutinho: “No catalogue has been ever found depicting the objects produced in the Côvo glass manufactory” (Coutinho 2016, p. 47). The most well-known center of the production of blown glass was the Coina Factory. It began its glass production in 1719 in Barreiro, near Lisbon, when the king, D. João V (1698–1750) ordered its installation (Coutinho 2016). Later, in 1748 it was moved to Marinha Grande (near Leiria) by John Beare, an Irishman. This relocation happened merely for economic reasons, as Marinha Grande is near the Leiria pine grove, a large area that could supply combustible materials that were essential for the glass furnaces. The region also has sand, and this allowed a new boost in the Portuguese glass production (Heras et al. 2012). In 1769 under the direction of Guilherme Stephens, the factory changed its name to ‘Real Fábrica do Vidro da Marinha Grande’ (Marinha Grande Royal Glass Factory). It was a time of great development and success, as the new location provided abundant fuel (wood/charcoal) necessary for the continuous toil of the glass furnaces. The privileges conceded by the state secretary, Marques de Pombal, such as authorization to use pine wood for free, contributed to the attainment of larger profits (Rocha 2003). The increase in production allowed the region to become a center of industrial development. In 1919, after the implementation of the Republic in Portugal, the factory changed its name to Nacional Fábrica de Vidros (National Glass Factory). In 1954, it changed its name again, to Fábrica Escola Irmãos Stephens—F.E.I.S. (School Factory of the Stephens Brothers) and the factory combined its industrial production with a school for glassblowers. In 1992, the board of directors declared the factory bankrupt and closed down the glass production and school (Almeida 2011). Since 1769, with the installation of the first glass factory in Marinha Grande, the region had become famous as “the land of glass”, due to the abundance and relevance of the glass industries gathered in this area. This reputation has remained until this day. During the 18th–20th centuries, many factories were built, most of which were family-owned businesses, but sadly partly due to the lack of investment in new equipment and technologies and partly as a consequence of the global market/economy, very few still prevail.1 3. Artists/Designers in the Glass Factories Portugal has had a long tradition in glass, especially based upon the glassblowing industry in the Marinha Grande area since the 18th century. The relationship between glass and craft has always existed, as glassblowers have always produced craft glass (Barros [1969] 1998). However, artists did not become more directly involved in this tradition until the 1920s. In 1929, the painter Jorge Barradas started to design glass objects that were later to be made by the glassblowers of the glass factory Companhia Industrial Portuguesa (Portuguese Industrial Company), in Marinha Grande. One of the objects produced through this collaboration was a vase with Portuguese folk motives for Hotel Palace in Estoril (Santos 2004; Ferreira 2002), a very well-known hotel situated on the Lisbon–Cascais coast, inaugurated in 1930, that hosted the upper class. In the 1950s, more artists, such as Alice Jorge, Júlio Pomar, Sá Nogueira and Lagoa Henriques started to work with the glassblowers of the Marinha Grande factories, thus beginning a continuous ‘design-made’ production. Lagoa Henriques, a sculptor, enjoyed the experience of working with glass craftsmen so much that he returned to the factory more than once for further collaborations. Two names stood out 1 Historians such as Vasco Valente in 1950 and José Amado Mendes in 2002 have contributed greatly towards the study of the history of glass in Portugal (Valente 1950; Mendes 2002). Arts 2020, 9, 79 3 of 15 Artsin glass 2020, design:9, x FOR PEER Carmo REVIEW Valente and Maria Helena Matos. Carmo Valente, worked as a designer3 from of 15 1958–1959Arts 2020, 9, x at FOR F.E.I.S., PEER MarinhaREVIEW Grande (Ferreira 2002); this later allowed her to explore new lines in3 of the 15 grantVenini from factory, the Murano,Calouste Italy,Gulbenkian and Orrefors Foundation and Kosta in 1961 Boda (Portugal). in Sweden Some and of Arabia the pieces in Finland made (bySantos this artist2001grant), were from supported laterthe Calouste exhibited by a grant Gulbenkian at fromthe Rampa the Foundation Calouste Gallery Gulbenkian in in Lisbon, 1961 (Portugal). and Foundation influenced Some in offutu 1961 there (Portugal).pieces national made creations. Some by this of Hertheartist piecespiece were Burma madelater exhibited bywas this made artist at withthe were Rampa acid-etching, later Gallery exhibited a in techniqu Lisbon, at the Rampae and adopted influenced Gallery with in greatfutu Lisbon,re success national and at influenced creations.Marinha GrandefutureHer piece national that Burma consists creations. was of made using Her with abrasive piece acid-etching,Burma materialswas a made suchtechniqu withas hydrofluorice acid-etching,adopted with acid a great techniquewhich success allows adopted at theMarinha glass with surfacegreatGrande success to that be matteconsists at Marinha and of also using Grande textured abrasive that (Carvalho consists materials of 2019) using such (Figure abrasiveas hydrofluoric 1). materials acid such which as hydrofluoric allows the glass acid whichsurface allows to be matte the glass and surface also textured to be matte (Carvalho and also 2019) textured (Figure (Carvalho 1). 2019) (Figure1). Figure 1. Burma, Carmo Valente, Fábrica Escola Irmãos Stephens (F.E.I.S), 1974.