Whether working in glass factories in the 1950s or in their personal workshops since the 1970s, the creators of the second half of the 20th century were more interested in the intrinsic qualities of glass than in its ornamentation.
Although the most significant glass creations after the war were primarily produced in Murano, Scandinavia, and Czechoslovakia, beautiful pieces in solid, colorless crystal were also produced in small series by the French manufacturers Daum, Schneider, and Lalique, where glass artists, such as André Thuret, sometimes gained access to create their own works. Alongside this industrial production, small artisanal glassworks, like the one in Biot, also emerged in the south of France, offering objects in colored glass, with or without bubbles.
Furthermore, in the 1960s, initiatives also developed to open small independent workshops where unique pieces could be created. First appearing in the United States, where training and creation spaces were organized (Studio Glass Movement), this model spread throughout Europe and the rest of the world, becoming the dominant and dynamic trend in artistic glass creation during the last three decades of the 20th century.
This model also spread in France. Whether they had initially trained at the Biot glassworks or discovered glass empirically, glass artists such as Morin, Monod, Bégou, and Novaro contributed to the revival of French glass by creating their own unique pieces. In this context, pâte de verre (glass paste) was also brought back into the spotlight thanks to the initiative of the Conches artists: Antoine and Etienne Leperlier.