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Why did Tiffany’s Favrile glass influence glassmakers in central Europe?

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fish of core-made glass — glassware Fish of core-made glass with “combed” decoration, Egyptian, New Kingdom, 18th dynasty (c. 1363–46 bc). In the British Museum. 0.141 m × .069 m.

Louis Comfort Tiffany’s Favrile glass significantly influenced central European glassmakers at the turn of the 20th century, primarily due to its alignment with the Art Nouveau movement—known in the region as Jugendstil—and its innovative aesthetic qualities.123

Following an exhibition of Tiffany’s work in central European museums in 1897, local artisans were captivated by both the flowing, organic forms of his glassware and the unique, heavily lustred material he employed. This aesthetic, which featured iridescent surfaces and naturalistic shapes, stood in contrast to the traditional cut crystal and layered wares then prevalent in the region.23

The impact was so profound that it sparked a new fashion, prompting several European factories to begin producing similar lustred glass. Notably, the firm of J. Lötz Witwe of Klášterský Mlýn (Klostermühle) adopted these techniques and subsequently won a grand prix at the 1900 Paris Exhibition for its own lustred glassware, demonstrating the lasting influence of Tiffany’s innovations on the European decorative arts.2