Marinot began his career as a Fauvist painter, becoming fascinated with glassmaking after visiting the Viard glass factory in 1911. At first he experimented by enameling clear blanks supplied by the factory; in 1912 he apprenticed himself to the factory’s gaffers and soon was blowing his own forms and engraving or acid-etching geometric and abstract patterns onto their surfaces. A master of integral decoration, he introduced gold flecks, used different colors of opaque glass in tandem, and exploited the random, trapped air bubbles considered undesirable by other glassworkers; equating glasswork with the art of painting, he signed each of his bottles, flasks, and stopped jars. Marinot’s glass won universal acclaim at the 1925 Paris exposition.
Inscription: Signed (underside of foot, scratched): Marinot
Marquise Raoul de Saint Cyr (until d. 1988; her bequest to MMA)
New York. The Metropolitan Museum of Art. "Masterpieces of French Art Deco," August 4, 2009–January 23, 2011, no catalogue.
Jared Goss. French Art Deco. New York, 2014, pp. 149, 152–53, 259, no. 41d, ill. (color, overall and detail).