DOI Artikel:
Pazaurek, Gustav Edmund: Die Transparentmalerei von Mohn und Genossen
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.52117#0048
The Step from enamelling to transparent painting on round glass was taken
in the Empire period by German porcelain painters in their own work-shops.
Samuel Mohn (1762—1815) and his son, Gottlob Samuel Mohn (1789—1825),
began as porcelain artists with silhouettes, set simply but skilfully on the
white glazing. (Cylindrical cup in the Pazaurek Glass Collection with the
signature of Samuel Mohn, Fig. 1; Cylindrical cup of Gottlob Mohn with
heads in Silhouette of father and son in the Museum of Arts and Crafts in
Halle, Figs. 2 and 3.) At a relatively early date both the Mohns, father and
son, turn more and more to glass painting. While Gottlob shows greater
inclination towards painted glass panels, and devotes himself to this art,
especially in Vienna, his father is soon content to fabricate, in Cooperation
with a number of pupils and apprentices, the many charming, delicately-
painted drinking-cups, which we to-day value more highly than the Con-
temporary glass paintings.
The oldest Mohn-glass is an Empire chalice on a square plinth in the
Berlin Hohenzollern Museum, presented to Queen Louise of Prussia by the
artist in 1806. The best of the other glasses, connected with this Queen, is
one in the possession of Paul Müller in Dresden, adorned with her idealized,
half-length portrait.
Undoubtedly the son, Gottlob, was of considerable assistance in the produc-
tion of S. Mohn’s master-pieces, the Silhouette glasses. All the silhouettes are
set in simple, upright oval medallions, crowned with flowers, on a silver-
yellow etched background. (Chalice in the Collection of Hermann Dorn in
Stuttgart, Fig. 7.)
By far the greatest number of Mohn’s glasses are those with landscape
renderings. At first the artist keeps to views of Dresden, and the Saxonian
mountain country; at a later period Mohn enlarges his Programme, and
decorates his glasses with vistas of well-known places in Germany, and
Italy, taken from all kinds of engravings and drawings.
31
in the Empire period by German porcelain painters in their own work-shops.
Samuel Mohn (1762—1815) and his son, Gottlob Samuel Mohn (1789—1825),
began as porcelain artists with silhouettes, set simply but skilfully on the
white glazing. (Cylindrical cup in the Pazaurek Glass Collection with the
signature of Samuel Mohn, Fig. 1; Cylindrical cup of Gottlob Mohn with
heads in Silhouette of father and son in the Museum of Arts and Crafts in
Halle, Figs. 2 and 3.) At a relatively early date both the Mohns, father and
son, turn more and more to glass painting. While Gottlob shows greater
inclination towards painted glass panels, and devotes himself to this art,
especially in Vienna, his father is soon content to fabricate, in Cooperation
with a number of pupils and apprentices, the many charming, delicately-
painted drinking-cups, which we to-day value more highly than the Con-
temporary glass paintings.
The oldest Mohn-glass is an Empire chalice on a square plinth in the
Berlin Hohenzollern Museum, presented to Queen Louise of Prussia by the
artist in 1806. The best of the other glasses, connected with this Queen, is
one in the possession of Paul Müller in Dresden, adorned with her idealized,
half-length portrait.
Undoubtedly the son, Gottlob, was of considerable assistance in the produc-
tion of S. Mohn’s master-pieces, the Silhouette glasses. All the silhouettes are
set in simple, upright oval medallions, crowned with flowers, on a silver-
yellow etched background. (Chalice in the Collection of Hermann Dorn in
Stuttgart, Fig. 7.)
By far the greatest number of Mohn’s glasses are those with landscape
renderings. At first the artist keeps to views of Dresden, and the Saxonian
mountain country; at a later period Mohn enlarges his Programme, and
decorates his glasses with vistas of well-known places in Germany, and
Italy, taken from all kinds of engravings and drawings.
31