Verre Eglomise. Verre eglomise is a French term referring to the process of applying both a design and gilding onto the rear face of glass to produce a mirror finish.
The name is derived from the 18th-century French decorator and art-dealer Jean-Baptiste Glomy, who was responsible for its revival. Glomy's technique was a relatively simple one of applying decorative designs in a combination of plain colour and gilding, usually to glass picture frames.
However, over time it has come to be used to describe nearly any process involving back-painted and gilded glass, however elaborate. The technique of back-painting glass actually dates back to pre-Roman eras.
One of the key historical periods of the art was in Italy during the 13th to 16th centuries. Small panels of glass with designs formed by engraved gilding were applied to reliquaries and portable altars.
The method used is described by Cennino Cennini. Other practitioners include Jonas Zeuner and Hans Jakob Sprungli. It has also been used throughout Europe since the 15th century, appearing in paintings, furniture, drinking glasses and similar vessels, and jewellery. It is also often seen in the form of decorative panels of mirrors, clock faces, and in more recent history, as window signs and advertising mirrors. The technique was explored by the Blue Rider group of artists in the 1920s who turned what had been a folk art into fine art. Indeed
The name is derived from the 18th-century French decorator and art-dealer Jean-Baptiste Glomy, who was responsible for its revival. Glomy's technique was a relatively simple one of applying decorative designs in a combination of plain colour and gilding, usually to glass picture frames.
However, over time it has come to be used to describe nearly any process involving back-painted and gilded glass, however elaborate. The technique of back-painting glass actually dates back to pre-Roman eras.
One of the key historical periods of the art was in Italy during the 13th to 16th centuries. Small panels of glass with designs formed by engraved gilding were applied to reliquaries and portable altars.
The method used is described by Cennino Cennini. Other practitioners include Jonas Zeuner and Hans Jakob Sprungli. It has also been used throughout Europe since the 15th century, appearing in paintings, furniture, drinking glasses and similar vessels, and jewellery. It is also often seen in the form of decorative panels of mirrors, clock faces, and in more recent history, as window signs and advertising mirrors. The technique was explored by the Blue Rider group of artists in the 1920s who turned what had been a folk art into fine art. Indeed
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