{"id":429291,"date":"2025-08-01T14:00:00","date_gmt":"2025-08-01T18:00:00","guid":{"rendered":"https:\/\/www.1stdibs.com\/blogs\/the-study\/?p=429291"},"modified":"2025-08-01T16:38:44","modified_gmt":"2025-08-01T20:38:44","slug":"corning-museum-of-glass-brilliant-color","status":"publish","type":"post","link":"https:\/\/www.1stdibs.com\/blogs\/the-study\/corning-museum-of-glass-brilliant-color\/","title":{"rendered":"How a Craving for Color Revolutionized Glass"},"content":{"rendered":"\n
\"An
Glass objects<\/a> arranged in rainbow order are at the core of the show “Brilliant Color<\/a>,” on view at the Corning Museum of Glass<\/a> until January 2026. Photos throughout courtesy of the Corning Museum of Glass <\/figcaption><\/figure>\n\n\n\n

The centerpiece of the exhibition \u201cBrilliant Color<\/a>\u201d at the Corning Museum of Glass<\/a>, in Corning, New York, is an illuminated wall of 40-odd cubbyholes, each holding a fine example of a glass vase<\/a>, compote<\/a>, candlestick<\/a>, decanter<\/a> or perfume bottle<\/a>. The dazzling installation (by architect Annabelle Selldorf<\/a>) is organized by hue, according to the colors of the rainbow.<\/p>\n\n\n\n

The show, on view through January 11, 2026, traces the chromatic revolution in glass<\/a> that began in 1856 with the advent of synthetic dyes, which replaced costly, hard-to-source organic ones. Although synthetic dyes could not be used to color glass (they couldn\u2019t withstand the high temperatures required for glassmaking), their discovery led to colorful, affordable designs being adopted in fashion<\/a>, printed matter and home furnishings<\/a>. As demand surged for such goods, glassmakers in England, Europe and America increasingly experimented with chemicals and minerals to create glass that looked like emeralds<\/a>, rubies<\/a>, malachite<\/a>, agate<\/a> and tortoiseshell<\/a>.<\/p>\n\n\n\n

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\"A<\/figure>\n\n\n\n
\"A<\/figure>\n
Left: Johann Oertel & Co. yellow cut-glass vase, ca. 1915, manufactured by K. & K. Fachschule f\u00fcr Glasindustrie Novy Bor<\/a>. Right: Henry G. Schlevogt for Curt Schlevogt<\/a> mold-blown green-glass perfume bottle, ca. 1930
<\/figcaption><\/figure>\n\n\n\n

Next to the wall of glass objects is an interactive station where visitors can research the works in the display, filtering them by color, maker, country of origin or decade. The makers include household names like Steuben<\/a>, Lalique<\/a>, Baccarat<\/a>, Saint-Louis<\/a>, Salviati<\/a>, \u00c9mile Gall\u00e9<\/a> and Louis Comfort Tiffany<\/a>, as well as lesser-known creatives like Michael Powolny<\/a> (who produced designs for Johann L\u00f6tz Witwe<\/a>, in the present-day Czech Republic); Klaus Moje<\/a> (Australia); Maurice Marinot<\/a> (France); and Leo Moser (of Moser<\/a>, also in the present-day Czech Republic, who was the exclusive supplier to the Wiener Werkst\u00e4tte<\/a>).<\/p>\n\n\n\n

\u201cThis is the first exhibition that contextualizes glass within the larger craze for color that engulfed the fine and decorative arts in the late 19th and early 20th centuries,\u201d says Amy McHugh, the curator of modern glass at Corning, who organized the show, her first at the museum. \u201cWhen color became more affordable, everyone wanted it.\u201d (The show doesn\u2019t engage with Asian glass<\/a>, because \u201cAsia had very different systems for color creation in glass,\u201d McHugh explains.)<\/p>\n\n\n

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\"A
The Great Dish, engraved by English artist George Woodall<\/a> and manufactured by Thomas Webb & Sons<\/a> between 1889 and 1895, was made by layering and cameo carving dark-green, white, light-green and pink glass.<\/figcaption><\/figure>\n<\/div>\n\n\n

In an essay for the exhibition catalogue, McHugh writes that she decided to approach her subject \u201cby studying the individuals responsible for this explosion of colored glass \u2014 the often-overlooked chemists at various glass houses.\u201d<\/p>\n\n\n\n

Three of these pivotal figures are profiled in another catalogue essay, by James Measell, a historian at the Fenton Art Glass Company<\/a>, in Williamstown, West Virginia. The ambitious English immigrants Harry Northwood, Joseph Locke and Frederick Carder<\/a> arrived on the East Coast of the United States between 1880 and 1930. All were trained at the Stourbridge School of Art, a British-government-sponsored industrial school where they studied chemistry and learned to draw, paint, cut and engrave glass. With a series of innovations, they transformed the industry.<\/p>\n\n\n

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Harry Northwood<\/a> was known for his iridescent glass. He designed this shimmering, amethyst-colored footed bowl around 1910.<\/figcaption><\/figure>\n<\/div>\n\n\n

Northwood moved to Wheeling, West Virginia, in 1881 to work for the glassmaking firm Hobbs, Brockunier & Co. Later, he joined the Phoenix Glass Co.<\/a>, in Phillipsburg, Pennsylvania, where he collaborated with Joseph Webb, a fellow Stourbridge alum, who was then inventing compounds to make new tones.<\/p>\n\n\n\n

Northwood opened his own factory, in Martins Ferry, Ohio, and introduced ruby red, opaque white and opalescent lemon yellow. Toward the end of his life, he returned to West Virginia and founded the H. Northwood Company<\/a>, where he developed new iridescent finishes. The exhibition features a footed bowl in the company\u2019s Grape and Cable pattern from about 1910 that is an outstanding example of his popular iridescent \u201ccarnival glass<\/a>.\u201d<\/p>\n\n\n

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\"A
New England Glass Co.<\/a> Morgan vase with Agata finish, 1886\u201387<\/figcaption><\/figure>\n<\/div>\n\n\n

Locke, who studied design and engineering at Stourbridge, moved in 1882 to East Cambridge, Massachusetts, to join the New England Glass Co.<\/a>, where he invented and patented Amberina glass<\/a>, colored by adding pure gold. He also patented the Agata finish, created by coating glass with a metallic stain and spattering it with a quickly evaporating liquid like benzene, alcohol or naphtha, resulting in a mottled appearance. One vase in the show is made of Wild Rose\u2013colored glass with Agata mottling.<\/p>\n\n\n\n

Locke traveled to Toledo, Ohio, where he worked at W.L. Libbey & Son Co.<\/a>, then continued his career at the U.S. Glass Co., in Pittsburgh. In 1920, he founded Locke Art Glass, where he introduced acid-etched glass.<\/p>\n\n\n

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Batch books contained the often secret recipes for colored glass; this example is one of many created by Frederick Carder<\/a>, founder of Steuben Glass<\/a>.<\/figcaption><\/figure>\n<\/div>\n\n\n

The most successful Brit was probably Carder, a chemist, physicist, draftsman, artist and cameo carver who, while still in England, was known for his design sketches and glass works for Russian jeweler Karl Faberg\u00e9<\/a>. When Carder turned 40, in 1903, he moved to Corning, New York, to found Steuben Glass Works.<\/p>\n\n\n\n

The exhibition includes some of his tiny recipe booklets, called batch books, with painstaking notations of his color formulas \u2014 mixtures of ingredients like oxides, chemical compounds and minerals. (Batch books were secret and valuable; some were written in code. One English glassmaker so feared his might be confiscated by U.S. Customs when he arrived in America that he had his wife sew them into her petticoats.)<\/p>\n\n\n

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\"A
A series of displays in the exhibition illustrate how the color revolution influenced interiors. Here, Josef Frank<\/a>\u2019s cheerful Paradiset wallpaper is paired with 1920s ruby tableware by Frederick Carder<\/a> for Steuben Glass<\/a>, as well as an 1894\u20131910 pitcher embellished with gold leaf by the Union Glass Company, a honey-colored 1880s ice-cream tray by the New England Glass Co.<\/a> and an opaque white 1898\u20131910 butter dish by the Northwood Glass Company<\/a>.<\/figcaption><\/figure>\n<\/div>\n\n\n

The result of this industry-wide experimentation was an efflorescence of colorful glass in every part of the home, from dining rooms and kitchens to bathrooms and bedrooms. One corner of the exhibition shows how novel colors and patterns were deployed in interiors, with glass complementing different exuberant wallpaper designs by the 20th-century master of vibrant prints Josef Frank<\/a>.<\/p>\n\n\n\n

By 1940, however, the colored-glass trend was ebbing; it was absent from the New York World\u2019s Fair of 1939 after dominating the Paris Expositions Universelles of 1867, 1878, 1889 and 1900 and the 1925 Exposition International des Arts D\u00e9coratifs. Colorless glass had returned to favor. But colored glass certainly didn\u2019t disappear, as evidenced by the jewel-toned works of later artists Eva Zeisel<\/a>, Toots Zynsky<\/a>, Stanislav Libensk\u00fd and Jaroslava Brychtov\u00e1<\/a> and Richard Marquis<\/a> in a small case at the entrance of the exhibition.<\/p>\n\n\n

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\"A
A detail of a ca. 1905 Tiffany Studios<\/a> window shows the vast array of colors the company was capable of producing. Several of the individual pieces of glass in the composition display multiple hues.<\/figcaption><\/figure>\n<\/div>\n\n\n

The show ends with a magnificent Louis Comfort Tiffany glass window manufactured at Tiffany Studios<\/a> in Corona, Queens, New York, in about 1905. It depicts a landscape made of hundreds of pieces of glass in every shade imaginable. It is a fitting conclusion to this fascinating show, and a striking example of the desire to bring more color to the objects that surround us.<\/p>\n\n\n\t

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The centerpiece of the exhibition \u201cBrilliant Color\u201d at the Corning Museum of Glass, in Corning, New York, is an illuminated wall of 40-odd cubbyholes, each holding a fine example of a glass vase, compote, candlestick, decanter or perfume bottle. The dazzling installation (by architect Annabelle Selldorf) is organized by hue, according to the colors of 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