| dbo:abstract
|
- Enamelled glass or painted glass is glass which has been decorated with vitreous enamel (powdered glass, usually mixed with a binder) and then fired to fuse the glasses. It can produce brilliant and long-lasting colours, and be translucent or opaque. Unlike most methods of decorating glass, it allows painting using several colours, and along with glass engraving, has historically been the main technique used to create the full range of image types on glass. All proper uses of the term "enamel" refer to glass made into some flexible form, put into place on an object in another material, and then melted by heat to fuse them with the object. It is called vitreous enamel or just "enamel" when used on metal surfaces, and "enamelled" overglaze decoration when on pottery, especially on porcelain. Here the supporting surface is glass. All three versions of the technique have been used to make brush-painted images, which on glass and pottery are the normal use of the technique. Enamelled glass is only one of the techniques used in luxury glass, and at least until the Early Modern period it appears in each of the leading centres of this extravagant branch of the decorative arts, although it has tended to fall from fashion after two centuries or so. After a brief appearance in ancient Egypt, it was first made in any quantity in various Greco-Roman centres under the Roman Empire, then medieval Egypt and Syria, followed by medieval Venice, from where it spread across Europe, but especially to the Holy Roman Empire. After a decline from the mid-18th century, in the late 19th century it was revived in newer styles, led by French glassmakers. Enamel on metal remained a constant in goldsmithing and jewellery, and though enamelled glass seems to virtually disappear at some points, this perhaps helped the technique to revive quickly when a suitable environment arrived. It has also been a technique used in stained glass windows, in most periods supplementary to other techniques, and has sometimes been used for portrait miniatures and other paintings on flat glass. (en)
- L’émaillage du verre est une technique de décoration ou simplement d'impression (cas des ampoules pharmaceutiques, par exemple) qui consiste à peindre au pinceau, ou à appliquer par sérigraphie, un motif sur un support de verre avec des émaux — poudres vitrifiables très fines, colorées par des oxydes — qui cuisent et fondent à basse température, grâce à la présence d’une base fusible. Ces poudres de verre sont mélangées en pâte à une substance huileuse comme la gomme arabique afin de faciliter leur application manuelle au pinceau ; dans le cas d’une production répétitive, on utilise divers procédés comme les pochoirs ou la vaporisation, ce qui nécessite un médium qui sèche plus vite, à base de cire ou de résine. Les émaux sont plus ou moins épais selon la dilution de la pâte. La cuisson des émaux pose rarement problème mais elle doit être bien contrôlée, surtout lorsque les émaux sont appliqués sur du verre soufflé. Elle se conduit en dessous de 600 °C ; après cuisson, les émaux sont transparents ou opaques selon la composition des fondants. (fr)
- Il vetro smaltato è un vetro che è stato decorato con smalto vitreo (vetro in polvere, eventualmente mescolato con un legante) poi fuso nel vetro. Può produrre colori brillanti e duraturi ed essere trasparente, traslucido o opaco. Generalmente i colori desiderati appaiono solo quando il pezzo viene messo in forno, aggiungendosi alle difficoltà dell'artista. È simile allo smalto vitreo su superfici metalliche, ma la superficie di supporto è di vetro. È anche vicino alla decorazione "smaltata" della ceramica, in particolare su porcellana, e si ritiene probabile che la tecnica sia passata dal metallo al vetro (probabilmente nel mondo islamico), e poi nel Rinascimento dal vetro alla ceramica (forse in Boemia o Germania). (it)
- Стемалит, также эмалит, эмалированное стекло — стекло, декорированное эмалью (стеклянным порошком, возможно, с примесью связующего вещества), а затем обожжённое до фьюзинга. Может быть ярких и стойких цветов, а также быть прозрачным, полупрозрачным или непрозрачным. Как правило, нужные цвета появляются только тогда, когда предмет обожжён, что увеличивает сложность изготовления художником. По виду напоминает эмаль, нанесённую на металлическую поверхность, но выполняется на стеклянной поверхности. Техника также близка к «эмалированному» надглазурному декорированию керамики, особенно фарфора, и считается, что, возможно, техника перешла от металла к стеклу (вероятно, в исламском мире), а затем в эпоху Возрождения от стекла к керамике (возможно, в Богемии или Германии). (ru)
|
| rdfs:comment
|
- Enamelled glass or painted glass is glass which has been decorated with vitreous enamel (powdered glass, usually mixed with a binder) and then fired to fuse the glasses. It can produce brilliant and long-lasting colours, and be translucent or opaque. Unlike most methods of decorating glass, it allows painting using several colours, and along with glass engraving, has historically been the main technique used to create the full range of image types on glass. (en)
- L’émaillage du verre est une technique de décoration ou simplement d'impression (cas des ampoules pharmaceutiques, par exemple) qui consiste à peindre au pinceau, ou à appliquer par sérigraphie, un motif sur un support de verre avec des émaux — poudres vitrifiables très fines, colorées par des oxydes — qui cuisent et fondent à basse température, grâce à la présence d’une base fusible. (fr)
- Il vetro smaltato è un vetro che è stato decorato con smalto vitreo (vetro in polvere, eventualmente mescolato con un legante) poi fuso nel vetro. Può produrre colori brillanti e duraturi ed essere trasparente, traslucido o opaco. Generalmente i colori desiderati appaiono solo quando il pezzo viene messo in forno, aggiungendosi alle difficoltà dell'artista. (it)
- Стемалит, также эмалит, эмалированное стекло — стекло, декорированное эмалью (стеклянным порошком, возможно, с примесью связующего вещества), а затем обожжённое до фьюзинга. Может быть ярких и стойких цветов, а также быть прозрачным, полупрозрачным или непрозрачным. Как правило, нужные цвета появляются только тогда, когда предмет обожжён, что увеличивает сложность изготовления художником. (ru)
|
_(cropped).jpg){kind=link}
.jpg){kind=link}
.jpg){kind=link}
.jpg){kind=link}
.jpg){kind=link}
.jpg){kind=link}
_LACMA_48.24.214a-b.jpg){kind=link}
_LACMA_M.76.2.13_(cropped).jpg){kind=link}
.jpg){kind=link}
.jpg){kind=link}
.jpg){kind=link}
_(cropped).jpg){kind=link}
.jpg){kind=link}
.jpg){kind=link}
.jpg){kind=link}
.jpg){kind=link}
.jpg){kind=link}
,_late_19th_century_(CH_18470945)_(cropped).jpg){kind=link}
.jpg){kind=link}
