Glass Museum Frauenau

Modern Glass

In the glazed outer part of the circular museum building you will find showcases on two floors showing what became possible in modern glass art with the wealth of ideas and with old and new glass making and decorating techniques. At the side of the showcases the exhibition documents the history, the institutions and the objectives of the International Studio Glass Movement. This artistic movement started in the 1960s in the USA, but found its origins also in Europe especially in the traditions of applied arts in Czechoslovakia. Connections of modern studio glass towards modern visual arts, as well as to the glass making of tradition hand-glass factories, become understandable.


In it’s centre the exhibition focuses on the encounter of the American Professor for Ceramics and Glass, Harvey K. Littleton, with the artist Erwin Eisch in Frauenau in the year 1962, the founding year of the International Studio Glass Movement. Erwin Eisch is represented with a cross-section of his works in glass from early free-blown objects, up to his famous portrait head series. Additionally the Glass Museum represents also the other great names of studio glass art, as well as works of many active artists of the present day. All over the tightly woven friendships and mutual inspirations between Frauenau and the international world of glass can be sensed. These lively relations allow us today to indulge in an outstanding collection of modern glass art, which is occasionally changed, extended and updated.

The core of the historical glasses from international studio glass is built on the collection of Prof. Wolfgang Kermer, who, as a glass enthusiast, collected from the very beginnings new studio glass creations, and which he donated to the Glass Museum Frauenau in 1982. A comprehensive image and text documentation leads through the history of the International Studio Glass Movement and explains its world-wide network of organisations, schools and education institutions, galleries and museums.

At the same time the museum reminds us how the Studio Glass Movement was connected with architectural stained glass, which has set glass through the centuries in the context of the fine arts, of painting, architecture and of public and private space. The museum dedicates a specialised display area to some of the great masters of new German stained glass of post-war times, featuring Georg Meistermann and Johannes Schreiter and others, and from a younger generation Johannes Hewel and Ursula Huth.

Overlooking the roof garden a generous, transparent glazed area is designated to the future display of the extensive stained glass collection of the museum.