Rudolf JURNIKL
(1928-2010)
Rudolf Jurnikl is considered one of the most significant creators of pressed glass in Czechoslovak design. His works, known for their unique artistic strength and harmonious shapes, achieved great commercial success and became icons of domestic design. Jurnikl brought a fresh perspective to the glass industry, significantly influencing the development of pressed glass from the post-war years up to the 1980s. His work is characterized by dynamic, rounded forms, smooth curves, and a sensitive attention to detail, making his products not only decorative but also functional in interior spaces.
Rudolf Jurnikl was born in Frýdek-Místek, where he initially trained as a glass cutter at the KaMa - Karel Matušek workshop. He further developed his skills and completed his master exams in Valašské Meziříčí under the guidance of Dr. Volf. After World War II, from 1945 to 1948, he studied at the School of Glassmaking in Kamenický Šenov, specializing in glass engraving under Professor Alois Hásek. During the holidays, he gained experience in the engraving department of the renowned Lobmeyer company, led by Stephan Rath. From 1948 to 1953, he studied at the Academy of Arts, Architecture and Design in Prague in the studio of Professor Karel Štipl, first as a student and later as an assistant. This comprehensive education provided him with a solid foundation for a future career in which he combined craftsmanship with artistic vision.
After completing his studies, Jurnikl joined the glassworks at the Rudolfova huť in Teplice in 1953 as a designer, where he initiated the founding of an art center. From 1960, he became the first designer at the newly established Art and Technical Center for Pressed Glass in Teplice, where he later collaborated with notable designers such as František Vízner and Vladislav Urban. This trio significantly shaped the character of Czech pressed glass, which became a recognized export product under the Skloexport brand in the 1960s. Jurnikl’s work is reflected in the production of several glassworks, including Rudolfova huť, Heřmanova huť, Libochovice, and Rosice.
His work underwent several developmental phases. In the late 1950s, he began experimenting with massive glass, giving it dynamic, rounded shapes and smooth curves. A notable example is vase No. 20074, whose robust form resembles furnace glass.
In the 1960s, Jurnikl introduced a new, visually striking concept of pressed glass, moving away from functionalist austerity and focusing on artistic decoration. During this period, his iconic bowls, ashtrays, and vases were created, such as the 1961 cake plate with dense wedge cuts or the 1962 ashtray, which Alena Adlerová called “the most beautiful one produced here in recent years.” From the mid-60s, Jurnikl began incorporating graphically simplified motifs into his designs, such as leaves (vase No. 3425) or sunrays (vase No. 3403), giving the glass a lyrical and poetic expression.
In the 1970s, Jurnikl enriched his designs with floral decor, reflecting the era's return to natural motifs in design. This development was supported by a transition from manual pressing to machine production using new technologies, such as suction blowing and centrifugal casting. The result was innovative works that combined functionality with aesthetic originality. His later designs include vases No. 3549 and No. 13324 with wavy rims, inspired by Nordic design and melting ice, where he returned to simpler, undecorated forms emphasizing the purity of lines.
In the mid-1970s, Jurnikl created some of his most progressive works, such as the square vase No. 13347 and the jardiniere No. 13360 with spikes. These pieces stand out for their bold geometric shapes and unconventional approach to pressed glass, demonstrating his ability to push the boundaries of traditional design.
Jurnikl’s work was recognized both at home and abroad. In 1965, he won the Gold Medal at the Ljubljana Triennial of Applied Arts and 1st prize in the national competition for a collection of pressed glass. In 1973, he was awarded the Grand Prize at the 1st International Exhibition of Glass and Porcelain in Jablonec nad Nisou, and in 1974, the Grand Prize at the International Exhibition of Industrial Design in Valencia. In 1975, he received the title “Outstanding Product of the Year” for a pressed glass vase. In total, he received seven Gold Medals at Czechoslovak trade fairs, confirming his exceptional contribution to glass design.
Beyond pressed glass, Jurnikl also engaged in chamber cut glass, lighting design, and the creation of glass and mirrored walls for public interiors. Particularly interesting are his cut mirrors, which he enlivened with elements of kinetic and optical art. These works, often intended for castles, wedding halls, or ministries, showcase his ability to transfer artistic motifs from pressed glass to other media.
With his work, Rudolf Jurnikl not only elevated pressed glass to the level of artistic object but also defined its Czech identity, distinguishing it from foreign production. His creations, full of spontaneous harmony and lyrical sensitivity, remain a living part of the Czechoslovak design heritage and continue to inspire future generations.
