Ceiling Light #2067
Rare model with large, irregular shaped glass dish with acid-etched design, and polished edges. 6 x E12 (candelabra) sockets. Overall oxidation to brass elements. Wiring and sockets have recently been updated to USA standards. Chain & canopy pictured are included, but not original to the piece. Illuminazione, Fontana Arte 1. Makers catalog, Pg. 14.
Max Ingrand Formal Education And Early Training As A Glass Artist
Mad Ingrand was educated in Paris at the École Nationale Supérieure des Beaux-Arts and École Nationale Supérieure des Arts Décoratifs, where he studied interior design and specialized in decorative arts graduating in 1927. While at school, he apprenticed to renowned stained glass artist Jacques Grüber, known for his Art Nouveau stained glass windows, and architect Charles Lemarequier.
In 1931, Max Ingrand left the workshop of Jacques Gruber to create his own company, and married glass artist Paulette Rouquié. That same year, the young couple worked together creating several glass embossing designs and exhibited the works at the XXII Société des artistes décorateurs. This exhibition and early glass works, led Max Ingrand to receive several private stained-glass commissions.
One of the most important assignments of this time was his design and creation of the stained glass windows at the Sainte Agnès church, in Maisons-Alfort, where he further developed his skills as a master glassmaker not shy of utilizing bold luminous colors. During this time, Ingrand also worked on private commissions designing stain glass windows and glass etching.
By 1936, Italian architect and designer Gio Ponti, who three years earlier founded the Italian furniture and light making company Fontana Arte along Luigi Fontana and Pietro Chiesa, had already noticed the talent and skill of Max Ingrand, and published in Domus design and architecture magazine some of Ingrand’s works and writing “Max Ingrand, through constant research in the technique of acid and sand processing, surface and depth, achieved a truly masterly craftsmanship refinement. We show his works here as useful examples of decoration, ornament and design which to the perfection and precision of the crafting sometimes add a lyrical inspiration.” Ponti’s recognition of Ingrand’s glass artistic talent would positively affect Ingrand’s career later in life, when he would become the artistic director of Fontana Arte.
In 1937, he worked on important window designs for Notre-Dame de Paris, and later the Saint-Pierre d’Yvetot Church in Normandy, which would become one of largest stained glass windows in Europe, and was invited by architect Louis Süe to decorate the apartment of cosmetics businesswoman Helena Rubinstein.
44.0 x 75.0 x 63.0 cm (17.3 x 29.5 x 24.8 in)