Glass & the Arts

Glassblowing: An International Language

Over 2000 years of history and glassblowing has become an art in and of itself. Sometimes it is referred to as a dance or simply 'poetry in motion'. Watching a maestro at work is a joy and pleasure to behold. The fluidity of their movements and grace they bring to the material is inspiring, captivating and nothing short of pure alchemy. The methods they use to create beautiful works of art are in many ways just like a form of music or type of language. At first it may seem strange or foreign, but after a while you begin to recognize certain components that begin to make sense. The more familiar you become with it, the more you can grow an appreciation for all of the nuances that it has to offer. This section examines the international nature of the contemporary studio glass movement and the countries that have contributed to the ever-expanding vocabulary of hot glass.

Glassblowing has undergone many changes throughout time. The art and techniques of manufacture have been heavily influenced by the people and cultures that have embraced it, nurtured it, and developed it beyond their own expectations.

Glassmaking is a global activity today. There are some universal principles that govern the behavior of hot glass and that we all must abide by (every glassblower has to deal with getting burned!). There are, however, many stylistic variations and "dialects" out there. Each country seems to have it's own unique way of doing things. Many styles of glassblowing are the product of trade secrets passed down through families and guilds throughout the centuries. The techniques that they developed were in virtual isolation from the countries that bordered them. Can you guess why?

With the advent of the jet airplane and international commerce on a global scale, the borders and differences that separate our countries are getting thinner and more transparent every day (still far from “crystal clear” mind you).

The studio glass movement that began in the United States some thirty years ago established some lines of communication that continue strong today. The sharing of information is at an all-time high, and it seems to be getting better every day. How this came about, who the major players are, and what it's all about will be addressed in the following pages.

Origins of Glassmaking

Most historians agree that glassmaking probably began some 5,000 years ago in the area that is now the Middle East, in and around Syria. They believe that actual glassblowing with a blowpipe started around the birth of Christ, over 2,000 years ago. Glassblowing is highly addictive, so its no wonder that the 'disease' spread like wildfire and inflicted people throughout the Mediterranean.

The Romans in their globetrotting/conquering days brought with them not only the art of war, but also the art of glassblowing. Glassmaking "factories" were established in ever further reaches of the empire. Glass was a hot commodity to trade.

Islamic glass is one of the results that developed and blossomed after the Romans faded from the landscape (in the area that is presently Iran). The objects that were created some 600 – 1000 years ago are incredible even by today's standards (all done without 'advanced technology- which makes it even more amazing). Islamic glass exhibited skills not just in glassblowing, but in carving, etching and enameling as well.

Stained Glass windows began to appear in around the 12th century in Western Europe. The windows became a form of communication themselves. The majority of people at that time were not trained to read or write, but they could look at the picture in the window and understand something about the word of god and/or the life of Christ. (perhaps this is where the phrase “a picture's worth a thousand words” originated). Glass at this point reached an architectural scale and its popularity grew exponentially. From the 11th to13th century, two dominant styles of glassmaking emerged in Europe: Waldglas in the north and Venetian “Cristallo” in the south.

Waldglas or "forest glass" houses were scattered throughout northern and central Europe. Their style of blowing differed than their Italian counterparts. Their focus was on creating objects for everyday use, not just one-of-a-kind specialties for the nobility. They made bottles and containers for various liquids, including beer. Large drinking vessels would be adorned with all sorts of bits, blobs and trails of glass, the “prunt” being the most easily recognizable form of surface embellishment. Typically Waldglas products had a blue/green tint to it. The color came from trace amounts of iron in the sand that they melted to make their glass.

Further to the south in Italy, in 1291, by governmental decree, the glassmakers and their hotshops were moved from the city of Venice to the nearby island of Murano. One reason was to keep the threat of fire at bay (so to speak), and the other reason was to keep a lid on all their unique glassblowing techniques. Glassmaking was (and continues to be) a moneymaker for sure, and trade secrets were as good as gold. Techniques were handed down from father to son and kept within in the 'family' and/or factory. With each passing generation improvements were made all along the way.

The Venetian style ruled. The work that they produced were typically thin-walled vessels, expertly crafted goblets and all types of canework that bedazzled the kings, queens, and heads of state throughout Europe. Venetian glass was highly sought-after. It was not without its fair share of rewards; the glassblowers of Murano attained nobility status during their heyday from the 14th through 18th centuries.

The only problem with Venetian glass (besides being wickedly fragile) was that demand far exceeded production. Consequently other groups of people started copying techniques and producing work in their own interpretation of the Venetian-style. These reproductions or "fakes" were not just limited to blown glass.

Colorful trade beads, first pioneered in Murano, were duplicated, “appropriated”, or downright "ripped-off" by the Bohemian glassmakers and others. This, in turn, sprouted another glassmaking movement throughout Europe. The quantity went up and the quality went down (sounds familiar?), nevertheless, the glass they made became a form of currency good all over the new world and beyond. (Hey, wasn't the island of Manhattan reportedly purchased for a handful of beads way back when?)

Glass Arrives in America

Did you know that glassblowing was America's first industry? In 1609, the colony that was formed in Jamestown, Virginia had a small glasshouse. It was not too dissimilar from a typical Waldglas house built of rocks and fired with wood. The objects that they produced were utilitarian with bottles and jars for storage of spirits and beer and "bullseye" windows for houses and such. It was predominantly English-style glassmaking techniques they employed, England being the country from which they emigrated. Indeed for the first few centuries of glassmaking in North America, the influence from mother England was particularly strong.

During the industrial revolution, glass objects were being mass-produced (still by hand) by the thousands. Refinement in fuels and tools increased production dramatically. Moldblowing (a technique developed by the ancient Romans) is a quick and easy way to produce hundreds of objects that are identical in shape and style. Virtually any person can be trained to do it. The Romans first perfected moldblowing in Caesar's time (there are still a few commemorative gladiator mugs made in the first century B.C kicking about in a few museums across the globe).

Mold blowing reached its zenith when the first fully automated bottle-making machine was produced nearly 100 years ago. The infernal contraption was capable of making over a quarter million bottles a day, by itself! How could any glassblower compete with a thing like that?

The industrial revolution certainly put a dent in the glassblower's art, but fortunately didn't kill it altogether. Glassblowers are a tough lot, and don't disappear too readily. Luckily there has been and continues to be support for hot glass. There have always been patrons of the arts who are willing to pay top dollar for the most unique objects made by the hand of man. And there will always be people getting hooked on glass and trying to out-do what's been done before. Which brings us to the present-day scene where glassblowing has become a worldwide phenomenon.

The Studio Glass Movement

The studio glass movement of the past 30 something years has taken the best of glassmaking traditions out of the factories and placed it in the hands of artists. These artists coupled centuries old techniques with unbridled enthusiasm and American “know-how”. They explored avenues of glassmaking free from the constraints of mass production.

Glass pieces produced in the late 1960's through the 1970's were crude by today's standards, but nevertheless opened enough people's eyes to make them stop and take a closer look. Even the Europeans, long considered the masters of the medium, became intrigued by what they saw. This curiosity grew on both sides of the Atlantic.

The impetus for the Studio Glass movement came in 1962 with Harvey Littleton's discovery that glass could be melted at lower temperatures and in smaller furnaces than were traditionally used in large factories. Littleton, along with Dominick Rabino, are commonly considered the founders of the modern studio glass movement.

Fulbright scholarships helped fund travel for a number of American artists to study glassmaking abroad, students like Dale Chihuly, Ben Moore, and Richard Marquis. They traveled to Italy, and on the island of Murano became infected with the “Venetian Virus”. Naturally they brought it back home with them.

Dante Marioni, a Seattle native, was only 15 years old when he started blowing glass in the mid-seventies. “Back then nobody except Ben Moore could blow anything on-center. It was pretty crude” (or pretty crud - but if you mirrored the interior of the piece, Whoa, look out! - Psychedelic city!). “Then Dale invited Maestros Checco Ongara and Lino Tagliapietra over from Murano to the Pilchuck Glass School* in Stanwood, Washington. They blew everyone away.”

*The Pilchuck Glass School was founded in 1971.

The Italian Influence

It is Lino Tagliapietra that has had the longest lasting impact on the U.S. glass scene. He has taught classes and workshops throughout the United States, and all over the globe. His philosophy is the more that we share information and collaborate with each other, the better the glass world becomes. I believe wholeheartedly that he is right.

Lino can make just about anything. The tissue-thin goblets he pumps out seem like they grow right out of his hands. Venetian-style goblet making is fast, yet, delicate work, much like the work a surgeon performs. It demands impeccable timing, dexterity and precision. Making “cups”, as Dante calls them, (traditional Venetian goblets) requires incredible skill that takes years of practice to perfect.

Lino's talents only begin with fine goblets. He is a master of canework and overall blowing skills. He is also an excellent designer in his own right, as can be seen in the vast quantity of different sculptures that grace galleries and collections worldwide. He has produced a remarkable body of work in the past half century, and it just keeps getting better and more elaborate as time goes by. Last, but not least, he is a phenomenal yet humble chef, and made one of the tastiest pasta dinners that I have ever had the pleasure to eat. No wonder that his popularity is known far and wide and his influence is so strong!

Solid working is a technique of sculpting hot glass on a blowpipe or punty. It is another whole ball of wax. It is quite a bit different than “popping bubbles.” It has its own set of rules and “grammar” that dictate how you can achieve a particular form. Again, through the influence of other Muranese maestros, most notably Loredano and Dino Rosin, and Pino Signoretto, the shape and vocabulary of the American glass language has changed forever.

Central & Northern European Influences

Italy isn't the only country in Europe to influence the American glass scene. German and Czech glassmaking techniques were brought over by the likes of Erwin Eisch from Frauenau, and Stanislav Libenský and Jaroslava Brychtová from Prague and Peter Novotny from Novy Bor.

The Bohemian/Czech style of glassblowing is done standing up versus the Italian style where the gaffer sits at a bench. The Bohemian method also makes use of molds to speed up the process of forming an object.

Further to the north, Scandinavian glassworkers have adopted and nurtured their own style of blowing. They, too, use blocks and molds to shape their glass, working with as much of the original heat from out of the furnace as they can. Every movement is calculated and precise. Their sleek designs and tight forms, coupled with their innovative use of colored (and colorless) glass, require such accuracy. They have created an undeniable presence in the contemporary glass scene. More and more smaller studios are popping up in the hillsides and above the fiords in Norway, Sweden and Finland as the studio movement continues to spread.

Most European glassmakers work in a team. This was something almost revolutionary for the artists in the U.S. during the 70's and 80's. During that time, it was thought the only way you could be free and do what you wanted to do, was to do it solo. You could also claim full credit for the effort. And what an effort it was, and is, to blow glass all by yourself! Eventually, the team approach made sense. It became instrumental in developing not only better glass art and highly complicated forms, but it drew artists and technicians together to create a community.

Now, I'm of the opinion that there is no right or wrong way to blow glass, just different ways of doing the process. Some methods work easier than others, and may save you time in the long run. You never know until you try, or you see it being done by someone who is a professional at it. And then you may find that it works for you, with a little (or a lot of) practice. But you have to make the effort to do a little research first.

The Language

There are a few interesting things that I have noticed when watching these European masters at work: first, the language barrier. There is none.

Granted, I may not speak the same native tongue as they do, but I visually comprehend (almost) 100% of what they are doing. I may not understand why they do a particular move until I take the opportunity to try it myself. It is then that the subtle nuances reveal themselves and the captivating grab of the hot glass sucks you in.

The Hands do the Talking

Ultimately it is the duty of the hands to execute the majority of the glass forming process (not your lungs like most people think). Watch them and you will learn a whole new form of sign language. The hands are guided by the mind, experience and intuition of the maestro. The fluidity of their movement is deliberate, yet graceful. It is a continuous flow from the first gather to the final tap-off into the annealer.

Watch a team in action, such as may be seen at the Museum of Glass. Look for the subtle nods and winks that transpire among the team members. Notice how few words need to be exchanged during the process. See if you can spot what style of glass they are making, and where that technique may have originated. Above all, keep an eye on their hands. The fingers may do the walking, but it's the hands that do the talking.

The Misnomer

Q. When's a glass not a glass?
A. When it's made of plastic.

Q. When is crystal not a crystal?
A. When it's made of glass.

In plain old English we call this conundrum a misnomer. Essentially a misnomer occurs when we accept a word or term on face value when in fact it is incorrect or somewhat misleading. Often the word has undergone some change in meaning throughout time and culture(s); so much so that it's original description is lost or construed.

For example, you may drink water out of a glass, yet today the 'glass' that you reach for off the shelf may be made of plastic, ceramic, glass, metal, or even paper. We refer to the cup or vessel as a 'glass' regardless of the material from which it is made.

Crystal is another misnomer. Originally crystal referred to the colorless rock formations of quartz or other rare minerals. In the fifteenth century the Italian glassmakers discovered how to make glass truly colorless, (with no more blue or greenish tints). It was very similar in appearance to pure quartz crystal and aptly named in “Cristallo” in Italian, or "crystal" in English. The name is still in use today.

Now a little later a scientist in England by the name of Ravenscroft discovered that if you add lead oxide into the glass recipe, you get a really brilliant form of glass with terrific optical qualities. It is suitable for cutting and polishing, as well creating lenses for various scientific instruments. The formula is known as "lead crystal." There are a few famous factories known worldwide for their products using this type of glass such as: Schott, Waterford, Stuben, Orrefors, and Daum.

Finally, there is another meaning for crystal: glassblowers will often refer to the glass they are blowing as “crystal,” even though the recipe is actually soda-lime based. Most studios melt a clear "crystal" batch or cullet in their furnace and add colors later… Whoa! Confused? Not only glass, but also language, can sometimes be difficult to decipher which is why you must make sure that your intentions and explanations are absolutely crystal clear.