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The Ghost of Glass Art: Emile Galle

 

Emile Galle
Nancy, France
May 8, 1846 - Sept 23, 1904

Galle possessed strong academic inclinations toward botany, literature and philosophy. A constant theme throughout his work was the palpitation of life. He believed that every flower was a wonder created by God and that all his glass creations were for the praise of Him.

Emile Galle - The Pride of La Foire de Paris of 1878
At thirty-two years of age, Emile Galle attended the La Foire de Paris of 1878 as an exhibitor. He instantly made a name for himself with his use of organic shapes and fluid lines. He showed again at the La Foire de Paris of 1889 and received the gold medal for his work in glass.

As he entered the creative height of his career, he drew many loyal admirers and supporters including Princess Helene Bibesco, Roger Maxwell and Marcel Proust.

 

A hand entwined with seaweed rises from the depths of the sea. A base as blue as the sea, a hand the color of flesh. Known for his vases, what inspired Galle to make this piece?

Galle greatly admired L'Homme et la Mer (Man and the Sea) by the poet Charles Baudelaire: Free man! the sea is to thee ever dear!

The sea is thy mirror, thou regardest thy soul
In its mighteous waves that unendingly roll,
And thy spirit is yet not a chasm less drear.

Over 30 cm tall, this hand was Galle's interpretation of Baudelaire's poem. A sculpture created for solely ornamental purposes was common in sculpture and painting - this was the first time in history glass was presented without a functional purpose but as art.

An enthusiast of poetry, Galle inscribed his glass with the words of Maurice Polydore Marie Bernard Maeterlinck. Etched in glass, fired in a kiln, these pieces were labeled "speaking glass".

In 1904 came the devastating news that Emile Galle had succumbed to leukemia. Galle's life was spent exploring new techniques including color overlay, glass blowing, glass inlay, applique, drawing, color glazing, copper wheel sculpting and acid wash. It was without question that his lifelong experimentation had a hand in his death at 58. For an artist, the most difficult and tortuous aspect of creation lies not in technique but in the uncertain outcome of one's creative journey.

Related Link: Liuli Crystal Art's International Artist Private Art Collections

Emile's poetic "speaking glass" became a highlight in art history and contemporary artist Chang Yi’s aspiration. Chang acquired all the works by Galle within his ability and as a response, began his own creative exploration of glass.

Chang’s A Realm of Zen within Fire possesses the same poetic leanings as Gallé’s work and like Gallé, his personal experiences with life and death are revealed through his work. Artist Antoine Leperlier sees this as a form of homage to Gallé. The majority of pieces from A Realm of Zen within Fire were acquired in the opening day of the exhibition at the National Museum of China.

The current exhibition at the LIULI CHINA MUSEUM Shanghai showcases Chang Yi’s A Realm of Zen within Fire series alongside Emile Galle’s "speaking glass" to create a talking point between two poetic and culturally sensitive artists that traverses the boundaries of space and time.

Chang Yi's works inspired by Emile Galle - A Realm of Zen within Fire 

Back to Why Glass? - Redefine Glass Art: The Must Know 12 Glass Artists

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Artist/Founder Loretta H. Yang leads a team of experienced artisans to create arts that honor the richness of cultural heritage and value.

Step No. 1: Design and sculpting

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Step 2 of the process involves coating our original clay sculpture in silicone. Layer after layer (3 to 7 layers) is fastidiously coated to produce a negative mold, a crucial step in capturing the prevision of the sculpture. Each layer must dry completely before additional layer is applied, thickness must be uniform to prevent leakage of wax. Once complete, the clay is removed to reveal a negative silicone mold.

Step No. 2: Silicone molding

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Pour molten wax into the negative silicone mold.

Step No. 3: Infusion of molten wax. Fill wax into a negative mold.

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Once wax has solidified and cooled, release the wax form by carefully peeling back the silicone mold. Like a butterfly molting, the silicon is shed to reveal a positive wax form.

Step No. 4: Shedding of silicon mold to obtain the wax form

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A careful refinement of the wax sculpture. Because every microinch and subtlety plays its own role in the grand scheme of beauty. Our artists refine the wax mold to its final perfection.

Step No. 5: Wax form refinement; removing imperfections

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The wax mold is placed on a wooden plank in a metal container and plaster is poured and solidified. Embedding wax form with fire-resistant plaster.

Step No. 6: Coating the wax sculpture with plaster to form a refractory mold

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Wax is steamed out of the plaster under high heat yielding a negative plaster mold.

Step No. 7: Removal of wax with steam—the essence of the “lost-wax” process

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Liuli ingredients are created through unique firing and processing of glass. Color and size appropriate pieces are placed within the plaster and fired.

Step No 8: Choosing color; kiln firing

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Fire and melt. Under intense heat, a new vision of transparency and clarity is born.

Step No. 9: Re-firing at 1,400 degrees Celsius

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Extreme patience and care are necessary when removing the plaster to prevent damage.

Step No. 10: Removal of plaster mold

When the art pieces emerge, our masters step in to carefully chip away the plaster mold. Like excavating fragile archaeological relics, one false move and you're left with broken shards.

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First comes die-cutting - smoothing the crystal down to the last microinch. Rough polish, removal of excess support, refinement and fine surface polish with a high-speed fabric wheel.

Step No. 11: Retouching of details; burnishing and polishing

Our artist refines and re-polishes each and every detail yet again.

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An etched number on the base of each piece indicates its limited edition and reminds us to never stop creating. After the engraving - an official LIULI artwork is born.

Step No.12: Final inspection; etching of serial number; packaging