Who was Émile Gallé? (Master glassmaker)
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A genius of decorative arts, founder of the Nancy school, Émile Gallé greatly contributed to the advent of Art Nouveau. Both an artist and an industrialist, Émile Gallé lived for the creation and development of his work. A humanist and poet, the man went through the problems of his time. Economic problems with foreign competition, but also sociological, wanting to make art accessible to as many people as possible. Today, the name Gallé is inseparable from the Nancy school, which he created in 1901. Would you like to know more? https://www.vessiere-cristaux.fr/emil... In the field of glassmaking, Gallé practiced monochrome decoration in grisaille in the manner of the German and Bohemian glass painters of the 18th century. His first wheel engravers worked according to the classical techniques inherited from glyptics on hard stone. Gallé's use of the glass engraver's tools is equally marked by his desire to break down the barriers between the two fields: the point, used on soft clay or terracotta to draw the outline of compositions; hydrofluoric acid, to patinate or matt backgrounds and ornaments; the grindstone or wheel, to cut into the enamel and reveal patterns and figures. As for the cutting of the glass surfaces into facets, Gallé rejected the geometric and mechanical aspect in favor of an irregularity that made the material vibrate. The polished nature of the engraving was abandoned from 1889 and the traces of the instrument's passage through the material were deliberately left visible. When two or three layers of glass were superimposed, the material was worked according to the same principles in its very thickness. The irregularities thus obtained were sources of optical animation. At the end of this research and experimentation, the glass lost its transparency in favor of polychromy. This triumphed with the appearance in 1898 of glass marquetry, which allowed the artist to reproduce as he wished the coloured visions glimpsed in nature and exalted by his imagination. In Gallé's production, certain technical processes were used mainly for the sake of economy. This was the case for hydrofluoric acid etching, which appeared timidly in 1889 on a few quality pieces in order to obtain certain specific effects, then was widely developed from 1894 for the manufacture of standard pieces. The use of acid represented a considerable saving in time, eliminated the risks of cracking inherent in the use of the wheel and made it possible to obtain different tones by simple successive immersions in different baths.
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