Studio glass is the modern use of glass as an artistic medium to produce sculptures or three-dimensional artworks. The glass objects created are intended to make a sculptural or decorative statement. Though usage varies, the term is properly restricted to glass made as art in small workshops, typically with the personal involvement of the artist who designed the piece. This is in contrast to art glass, made by craftsmen in factories, and glass art, covering the whole range of glass with artistic interest made throughout history. Both art glass and studio glass originate in the 19th century, and the terms compare with studio pottery and art pottery, but in glass the term "studio glass" is mostly used for work made in the period beginning in the 1960s with a major revival in interest in artistic glassmaking. Pieces are often unique, or made in a small limited edition. Their prices may range from a few hundred to hundreds of thousands of dollars (US). For the largest installations, the prices are in the millions. Modern glass studios use a great variety of techniques in creating glass artworks, including: Glassblowing, Flameworking, Glass casting, Coldworking, Glass fusing, Pâte de verre, Stained glass. History From the 19th century, various types of fancy glass started to become significant branches of the decorative arts. Cameo glass was revived for the first time since the Romans, initially mostly used for pieces in a neo-classical style. The Art Nouveau movement in particular made great use of glass, with René Lalique, Émile Gallé, and Daum of Nancy important names in the first French wave of the movement, producing colored vases and similar pieces, often in cameo glass, and also using lustre techniques. Louis Comfort Tiffany in America specialized in secular stained glass, mostly of plant subjects, both in panels and his famous lamps. From the 20th century, some glass artists began to class themselves as sculptors working in glass and as part of the fine arts. In the early 20th century, most glass production happened in factories. Even individual glassblowers making their own personalized designs would do their work in those large shared buildings. The idea of "art glass" grew – small decorative works in small production runs, often with designs or objects inside. By the 1970s, there were good designs for smaller furnaces, and in the United States this gave rise to the "studio glass" movement of glassblowers, who