The term stained glass may refer to colored glass as the material or work created thereof. Throughout the history of a thousand years, this term has been applied almost exclusively to church windows, mosques and other important buildings. Although traditionally made in flat panels and used as windows, the creation of modern stained glass artists also includes three-dimensional structures and sculptures. The use of modern vernacular often extend the term "stained glass" to include domestic spotlights and objects made from the incoming glass exemplified in the famous Louis Comfort Tiffany lamp.
As the stained glass material is stained glass by adding metal salts during manufacture. Colored glass is made into stained glass windows where small pieces of glass are arranged to form patterns or drawings, put together (traditionally) with strips of lead and supported by a rigid frame. Painted details and yellow stains are often used to improve the design. The term stained glass is also applied to windows where colors have been painted into glass and then blend into a glass in a kiln.
Stained glass, as an art and craft, requires artistic skills to understand appropriate and workable design, and engineering skills to assemble pieces. A window must fit the space used, must withstand wind and rain, and also, especially in larger windows, must support its own weight. Many large windows have survived the test of time and remain substantially intact since the late Middle Ages. In Western Europe they are the main form of pictorial art to survive. In this context, the purpose of stained glass windows is not to allow those inside the building to see the outside world or even primarily to acknowledge the light but to control it. For this reason stained glass windows have been described as "illuminated wall decorations".
The window design can be abstract or figurative; can include narrations taken from the Bible, history, or literature; can represent saints or patrons, or use symbolic motifs, especially armor. The inside window of the building may be thematic, for example: in the church - the episode of the life of Christ; in the parliament building - shield of constituents; in the lecture hall - figures representing art and science; or inside the house - flora, fauna, or landscape.
Stained glass is still popular today, but it is often referred to as art glass. It is common in luxury homes, commercial buildings, and places of worship. Artists and companies are contracted to create beautiful art glass from dome, window, backsplash, etc.
Video Stained glass
Glass production
During the late Middle Ages, glass factories were established where there was a ready supply of silica, an essential material for glass manufacturing. Silica needs very high temperatures to melt it, something not all glass manufacturers can achieve. Ingredients such as potassium, soda, and lead can be added to lower melting temperatures. Other substances, such as chalk, are added to rebuild weakened tissue and make glass more stable. Glass is stained by adding a metallic oxide powder or a finely divided metal while in a liquid state. Copper oxide produces green or bluish green, cobalt makes dark blue, and gold produces red and purple wine glasses. A lot of modern red glass is produced using copper, which is cheaper than gold and gives a brighter bright red color. Temporary colored glass in clay pots in a furnace is known as a glass of potted metal, compared to glass thrown.
Glass cylinder or Muff
Using an inflatable pipe, "collecting" (glob) liquid glass is taken from the heater pot in the furnace. The collection is shaped into the correct shape and the air bubbles blown into it. Using metal tools, wood molds that have been immersed in water, and gravity, the collection is manipulated to form a long cylindrical shape. When cold, reheat so that manipulation can continue. During the process, the bottom of the cylinder is removed. Once brought to the desired size it is allowed to cool. One side of the cylinder opened. This is inserted into another oven to heat and flatten it quickly, and then placed in the annealer to cool at a controlled rate, making the material more stable. "Hand-blown" cylinders (also called glass muff) and glass crowns are the kind used in the windows of ancient glass.
Crown glass
This hand-blown glass is made by blowing air bubbles into a pool of molten glass and then rotating it, either by hand or on a rotating table like a pottery wheel. Centrifugal force causes liquid bubbles to open and flatten. Then it can be cut into small pieces. Glass formed in this way can be colored and used for colored, or colorless glass windows as seen in small windows in houses of the 16th and 17th centuries. Concentrations, arc waves are characteristic of the process. The center of each section of glass, known as the "bull target", is subject to lower acceleration during spinning, thus remaining thicker than the rest of the sheet. It also has a different glass chunk left by the "pontil" rod, which holds the glass as it is spun out. The quality of this biased lump means that the bull's eye is less transparent, but still used for windows, both domestic and ecclesiastical. The glass of the crown is still made today, but not on a large scale.
Roll glass
The rolled glass (sometimes called "glass table") is produced by pouring a liquid glass onto a metal or graphite table and immediately rolling it into sheets using a large metal cylinder, similar to a pie leather roll. Rolling can be done by hand or by machine. The glass can be "double-rolled", which means it is passed through two cylinders at once (similar to a wringer in an older washing machine) to produce a glass of a certain thickness (usually about 1/8 "or 3mm.) The glass is then rolled, was first commercially produced around the mid-1830s and is widely used today, often called cathedral glass, but this has nothing to do with medieval cathedrals, where glass used is handmade.
Flashing glass
Architectural glass should be at least 1 inch thick (3 mm) springs to withstand the impulse and pull of the load (span) 1 1 typical wind. However, in the manufacture of red glasses, the dye must have a certain concentration, or the color will not develop. It produces a very strong color so that in the thickness of 8 inch (3 mm), the red glass transmits a bit light and looks black. The method used is to superimpose a thin layer of red glass onto a thicker glass that is clear or slightly dyed, forming a "shiny glass".
The young liquid clay is immersed in a liquid red glass pan, which is then thrown into a laminated glass sheet using a cylinder (muff) or crown technique described above. Once this method is found to make the glass red, other colors are made in this way as well. The big advantage is that double glazed glass can be carved or obscured to reveal the clear or colored glass below. This method enables rich details and patterns to be achieved without the need to add more major lines, giving artists greater freedom in their designs. A number of artists have embraced the possibility of the glass being given to them. For example, the heralds of the sixteenth century are heavily dependent on the various colors that are illuminated for kristas and complex beings. In the medieval period, the glass was polished; then, fluoride acid is used to remove flash in chemical reactions (a very dangerous technique), and in the 19th century sandblasting began to be used for this purpose.
Modern glass traditional production
There are a number of glass factories, mainly in Germany, the United States, Britain, France, Poland and Russia, which produce high-quality glass, hand-blown (cylinder, sarong, crown) and rolled (cathedral and opalescent). Modern stained glass artists have a number of resources to use and the work of centuries of other artists to learn while continuing tradition in new ways. In the late 19th and 20th centuries there were many innovations in the techniques and types of glass used. Many new types of glass have been developed for use in stained glass windows, especially Tiffany glass and Dalle de verre.
Maps Stained glass
Color
Transparent glass
Unusual lime-soda glass appears colorless to the naked eye when thin, although iron oxide impurities produce a clear green color in thick pieces or can be seen with the help of a scientific instrument. A number of additives are used to reduce the color green, especially if the glass will be used for ordinary window glass, rather than stained glass windows. Additives that reduce green color include manganese dioxide that produces sodium permanganate, and can produce a slightly mauve, glassy color in old homes in New England, USA. Selenium has been used for the same purpose.
Green glass
While very pale green is a typical color of transparent glass, deeper greens can be achieved by the addition of Iron (II) oxide which produces bluish green glass. Together with the chromium it provides a richer green colored glass, typical of the glass used to make wine bottles. The addition of chromium produces dark green glass, perfect for flash-in glass. Together with tin oxide and arsenic it produces emerald green glass.
Blue glass
- In the Middle Ages, blue glass was made by adding cobalt, which at concentrations of 0.025% to 0.1% in soda-lime glasses attained brilliant blue characteristics of Chartres Cathedral.
- The addition of sulfur to borosilicate boron glasses gives a blue color.
- The addition of copper oxide at 2-3% produces turquoise color.
- The addition of nickel, at different concentrations, produces blue, purple, or black glass.
Red glow
- Metallic gold, in very low concentrations (about 0.001%), produces ruby ​​gold-colored rubies ("ruby gold"); even in lower concentrations resulting in less intense red, often marketed as "cranberry glass". The color is caused by the size and dispersion of gold particles. Ruby's gold glass is usually made of leaded glass with added lead.
- Pure metallic copper produces very dark opaque red glass. Glass made in this way is generally "flashed" (laminated glass). It was used extensively in the late 19th and early 20th centuries and was exploited for a decorative effect that could be achieved by sanding and engraving.
- Selenium is an important agent for making pink and red glass. When used in conjunction with cadmium sulphide, it produces a brilliant red color known as "Selenium Ruby".
Yellow glass
- The silver compound (especially silver nitrate) is used as a stain used on the glass surface and fired. They can produce different colors from orange-red to yellow. The way glasses are heated and cooled can significantly affect the colors produced by these compounds. The chemistry involved is complex and not well understood.
- The addition of sulfur, together with carbon and iron salt, is used to form an iron polysulfide and produce amber glass from yellowish to almost black. With calcium, it produces a thick yellow color.
- Adding titanium produces a yellow-brown glass. Titanium is rarely used alone and is more often used to intensify and brighten other additives.
- Cadmium along with sulfur produces an old yellow color, often used in glazes. However, cadmium is toxic.
- Uranium (0.1% to 2%) may be added to provide neon or yellow neon colors. Uranium glass is usually not radioactive enough to be harmful, but if ground into a powder, such as by polishing with sandpaper, and inhaled, it can be carcinogenic. When used with lead glass with a very high lead proportion, it produces a deep red color.
Purple glass
- The addition of manganese gives the amethyst color. Manganese is one of the oldest glass additives, and purple manganese glasses have been used since the beginning of Egyptian history.
- Nickel, depending on its concentration, produces blue, or purple, or even black glass. Lead crystals with additional nickel produce a purplish color.
White glass
- Tin dioxide with antimony and arsenic oxide produce opaque white glass, first used in Venice to produce imitation porcelain. White glass is used extensively by Louis Comfort Tiffany to create a variety of irregular, striped and striped glasses.
Create a colored glass window
Design
The first stage in window production is to create, or obtain from an architect or building owner, an accurate template of the window that opens the glass to fit.
The subject of the window is determined to match the location, theme, or desire of the protector. A small design called Vidimus (from the Latin "we have seen") is prepared which can be shown to the protector. A model scale model can also be provided. The designer should consider the design, window structure, properties and size of glass available and the techniques they like.
Traditional narrative windows have panels connecting a story. Figurative windows can have rows of saints or honorable people. Text or motto texts are sometimes included and may be names of protectors or persons who have dedicated windows memory. In a window of the traditional type, it is usually left to the designer's wisdom to fill the surrounding area with borders, flower motifs and canopy.
A full-size cartoon is drawn for each "light" (opening) window. A small church window usually has two lamps, with some simple decorative lights on top. Large windows may have four or five lights. The east or west windows of a large cathedral may have seven lamps in three tiers, with an elaborate decoration. In medieval cartoons were drawn directly on the surface of a whitewashed table, which was then used as a pattern for cutting, painting and assembling windows. The cartoon is then divided into patchwork, providing a template for each small piece of glass. The exact position of tin holding glass in place is also noted, as it is part of the calculated visual effects.
Selecting and painting glass
Each piece of glass is selected for the desired color and cut to match part of the template. A precise fitting is ensured by "grozing" the edges with a tool that can bite small pieces. Details of face, hair and hands can be painted on the inside surface of the glass using special glass paint containing tin or fine copper filing, earth glass, Arab gum and media such as wine, vinegar or (traditionally) urine. Art detail painting becomes more complicated and reached its peak in the early 20th century.
From 1300 onwards, artists began using "silver stains" made with silver nitrate. It gives a yellow effect ranging from pale lemon to dark orange. Usually painted on the outside of a piece of glass, then fired to make it permanent. Yellow is very useful for raising limits, canopy and halo, and turning blue glass into green glass. Around 1450, a stain known as "Cousin roses" was used to enhance the tone of the flesh.
In the 16th century, various glass stains were introduced, mostly colored by soil glass particles. They are enamel forms. Painting on stained glass is initially used for small designs and other details. In the 17th century, stained glass styles have evolved that are no longer dependent on cutting colored glass into pieces. Scenes are painted onto square glass panels, such as tiles. The colors are then applied to the glass before the pieces are assembled.
A method used for decoration and gilding is a one-sided decoration of each of the two sheets of thin glass, which is then placed back to back in the lead to come. This allows the use of techniques such as Angel plating and Eglomise to produce visible effects from both sides but not exposing atmospheric or mechanically damaged surfaces.
Installation and installation
After glass is cut and painted, the pieces are assembled by placing them into H-lead cames. All the joints are then soldered together and pieces of glass are prevented from crunching and the windows become weatherproof by forcing soft oily cement or mastic between glass and cames. In modern windows, copper foil is now sometimes used as a substitute for tin. For more technical details, see the Datang glass.
Traditionally, when a window is inserted into a window space, iron bars are placed on top of it at various points to support its weight. The windows are tied to these bars with copper wire. Some very large early Gothic windows are split into sections by heavy metal frames called ferramenta . This support method is also preferred for large windows, usually painted, Baroque periods.
History
Origins
Stained glass has been produced since ancient times. Both the Egyptians and the Romans excelled in the manufacture of small colored glass objects. Phenicia is important in the manufacture of glass with its main centers of Sidon, Tire and Antioch. The British Museum holds two of Rome's finest pieces, the Lycurgus Cup, which is a gloomy but purple-shining mustard color for transmitted light, and a midnight blue Portland vase, with carved white layers.
In early Christian churches from the 4th and 5th centuries, there were many remaining windows filled with ornate patterns of alabaster sliced ​​into thin wooden frames, giving effect like colored glass.
Evidence of stained glass windows in churches and monasteries in England can be found at the beginning of the 7th century. The earliest known reference date of 675 AD when Benedikt Biscop imported workers from France to coat the windows of the St Peter monastery he had built in Monkwearmouth. Hundreds of pieces of tinted glass and tin, dating back to the end of the 7th century, have been found here and in Jarrow.
In the Middle East, Syria's glass industry continues during the Islamic period with major manufacturing centers in Raqqa, Aleppo and Damascus and the most important products are highly transparent colorless glass and gold-coated glass, rather than colored glass.
Stained glass in South West Asia
The production of colored glass in Southwest Asia was in the 8th century, at that time the alchemist Jó bir ibn Hayy? N, at Kitab al-Durra al-Maknuna , gave 46 recipes to produce colored glass and described the technique of cutting glass into an artificial gem. The tradition of making stained glass continues, with mosques, rooms and public spaces decorated with stained glass throughout the Islamic world. The stained glass of Islam is basically illustrated, in a religious context. It's generally pure geometric design, but may contain floral and text motifs.
Medieval glass in Europe
Stained glass, as an art form, reached its peak in the Middle Ages when it became a large pictorial form used to illustrate the biblical narrative to most illiterate people.
In the Ancient and Early Roman period, from about 950 to 1240, unfurnished windows demanded a large expanse of glass whose needs were supported by a strong iron frame, as can be seen at Chartres Cathedral and at the eastern end of Canterbury Cathedral. As Gothic architecture evolves into more ornate shapes, the windows become larger, giving greater lighting to the interior, but are divided into sections by vertical shafts and decorations of stones. Elaboration of this form reaches the pinnacle of complexity in the Flamboyan style in Europe, and the window grows larger with the development of Perpendicular style in England.
Integrated with the vertical surroundings of the cathedral and the Gothic parish church, the glass design becomes bolder. The circular shape, or rose window, was developed in France from a relatively simple window with openings that pierced the thin stone slab to the wheel window, as exemplified by the western front of the Chartres Cathedral, and in the end for a large complexity design, the decoration being composed of hundreds of dots as in Sainte-Chapelle, Paris and "Bishop's Eye" at Lincoln Cathedral.
While stained glass is widely produced, Chartres is the largest center for making stained glass, producing glass of unparalleled quality.
- Medieval glass in France
- Medieval glass in Germany and Austria
- Medieval glass in England
- Medieval glass in Spain
Renaissance Renaissance, Reform and Classic Window
Perhaps the earliest scheme of stained glass windows created during the Renaissance was for Florence Cathedral, designed by Lorenzo Ghiberti. The scheme includes three ocular windows for the dome and three for a facade designed from 1405 to 1445 by some of the most famous artists of this period: Ghiberti, Donatello, Uccello, and Andrea del Castagno. Each major ocular window contains a single image taken from the Life of Christ or the Life of the Virgin Mary, surrounded by a vast border of flowers, with two smaller facade windows by Ghiberti showing the martyred deacons, St. Stephen and St. Lawrence. One of the dome windows has since been lost, and by Donatello has lost almost all the details of his painting.
In Europe, stained glass continues to be produced; style evolved from Gothic to Classical, which is well represented in Germany, Belgium and the Netherlands, despite the advent of Protestantism. In France, many of these period glasses are produced in the Limoges plant, and in Italy in Murano, where stained glass and lead-sided crystal are often combined together in the same window. The French Revolution carries the neglect or destruction of many windows in France.
During the Reformation in England, a large number of Medieval and Renaissance windows were destroyed and replaced with plain glass. The dissolution of the Monastery under Henry VIII and Thomas Cromwell's command of "misused images" (object of worship) resulted in the loss of thousands of windows. Few remain undamaged; this window in the private chapel at Hengrave Hall in Suffolk is one of the best. With the last wave of destruction the traditional method of working with stained glass stained, and not rediscovered in England until the early 19th century. See Stained glass - English glass, 1811-1918 for more details.
In the Netherlands, rare-glass schemes remain in Grote Sint-Jan Church, Gouda. Windows, some of which are 18 meters (59 feet) tall, dates from 1555 to early 1600s; The earliest is the work of Dirck Crabeth and his brother Wouter. Many original cartoons still exist.
Awakening in the UK
The Catholic Awakening in Britain, gaining strength in the early nineteenth century with renewed interest in medieval churches, brought the rise of the church building in Gothic style, claimed by John Ruskin to be a "true Catholic style". The architecture movement was led by Augustus Welby Pugin. Many new churches are planted in big cities and many old churches are restored. This brings great demand for the rise of the art of making stained glass windows.
Among the earliest British manufacturers and designers of the early 19th century were William Warrington and John Hardman of Birmingham, whose nephew John Hardman Powell, had commercial eyes and exhibited works at the Philadelphia Exhibition of 1876, which influenced stained glass in the United States. Other producers include William Wailes, Ward and Hughes, Clayton and Bell, Heaton, Butler and Bayne and Charles Eamer Kempe. Scottish designer Daniel Cottier opens companies in Australia and the United States.
Awakening in France
In France there is a greater continuity of stained glass production than in England. At the beginning of the 19th century, most stained glass was made of large panels that were painted and fired extensively, the designs often copied directly from oil paintings by famous artists. In 1824 the SÃÆ'¨vres porcelain factory began producing stained glass to supply increasing demand. In France many churches and cathedrals experienced gloom during the French Revolution. During the 19th century a large number of churches were restored by Viollet-le-Duc. Many of France's best ancient windows were restored at that time. From 1839 onwards, much stained glass was produced with highly imitated medieval glass, both in artwork and in the nature of the glass itself. The pioneers are Henri GÃÆ'¨rente and AndrÃÆ' © Lusson. The other glasses are designed in a more Classical way, and are characterized by a bright blue background color (like against the blue-purple of a Chartres glass) and the use of pink and violet glass.
Revival
During the mid to late 19th century, many of Germany's ancient buildings were restored, and some, such as the Köln Cathedral, were completed in medieval style. There is a great demand for stained glass. The design for many windows is based directly on the work of famous engravers such as Albrecht DÃÆ'¼rer. Original designs often mimic this style. Much of the 19th century German glass has a large part of the painted detail rather than the outline and detail depending on the tin. The Royal Bavarian Glass Painting Studio was founded by Ludwig I in 1827. A major company was the Mayer of Munich, which started glass production in 1860, and still operates as Franz Mayer of Munich, Inc. . German stained glass found markets throughout Europe, in America and Australia. Stained glass studio is also established in Italy and Belgium at this time.
In the Austrian Empire and then Austria-Hungary, one of the leading stained glass artists was Carl Geyling, who founded his studio in 1841. His son will continue his tradition as Erben from Carl Geyling, who still exists today. Carl Geyling's Erben completed many stained glass windows for the big churches in Vienna and elsewhere, and received Imperial and Royal Removal Warriors from Emperor Franz Joseph I of Austria.
Innovation in the UK and Europe
Among the most innovative English designers were the Pre-Raphaelites, William Morris (1834-1898) and Edward Burne-Jones (1833-1898), whose work is the work of Arts & amp; Craft Movement, which regenerates stained glass throughout the English-speaking world. Among the most important exponents in Britain is Christopher Whall (1849-1924), author of the classic handicraft book 'Stained Glass Work' (published London and New York, 1905), which advocates direct involvement of the designer in the making of their windows.. His master is a series of windows (1898-1910) at the Lady Chapel in Gloucester Cathedral. It is taught at the Royal College of Art London and College of Arts and Crafts: many disciples and followers include Karl Parsons, Mary Lowndes, Henry Payne, Caroline Townshend, Veronica Whall (daughter) and Paul Woodroffe. Scottish artist Douglas Strachan (1875-1950), who was heavily influenced by the Whall example, developed the Art & amp; The craft of idiom by means of expressionist, in which strong image and meticulous technique are collaborated very well. In Ireland, a generation of young artists who were taught by Whall's pupil Alfred Child at Dublin Metropolitan School of Art, created a typical national school of stained glass: his main representatives were Wilhelmina Geddes, Michael Healy, and Harry Clarke.
Art Nouveau. Art Nouveau or Belle Epoch stained glass design flourishes in France, and Eastern Europe, where it can be identified with the use of curved, tortuous lines in lead, and swirling motifs. In France it is seen in the work of Francis Chigot of Limoges. In the United Kingdom appears in the smooth and formal floodlight design of Charles Rennie Macintosh.
Innovation in the United States
A & amp; R Lamb Studios, founded in 1857 in New York City, is the first major decorative arts studio in the United States and for many years the leading producer of ecclesiastical stained glass.
Notable American practitioners include John La Farge (1835-1910), who created opalescent glass and for which he received US patents on February 24, 1880, and Louis Comfort Tiffany (1848-1933), who received several patents for the same opal variety. process in November of the same year and is believed to have invented copper foil method as an alternative to lead, and use it extensively in windows, lamps and other decorations. However, reactions to aesthetics and window opalescent techniques - originally led by architects such as Ralph Adams Cram - led to rediscovery of traditional stained glass in the early 1900s. Charles J. Connick (1875-1945), who founded the Boston studio in 1913, was strongly influenced by his studies of medieval stained glass in Europe and by Art & amp; The philosophy of crafts from England Christopher Whall. Connick created hundreds of windows across the United States, including large glass schemes at Princeton University Chapel (1927-9) and at the Pittsburgh Heinz Memorial Chapel (1937-8). Other American artist makers who embrace medieval-inspired idioms include Nicola D'Ascenzo of Philadelphia, Wilbur Burnham and Reynolds, Francis & amp; Rohnstock from Boston and Henry Wynd Young and J. Gordon Guthrie from New York.
the 20th and 21st centuries
Many 19th century companies failed at the beginning of the 20th century because the Gothic movement was replaced by a newer style. At the same time there are also some interesting developments where stained glass artists take studios at a shared facility. Examples include the Greenhouse in London founded by Mary Lowndes and Alfred J. Drury and An TÃÆ'ºr Gloine in Dublin, run by Sarah Purser and include artists such as Harry Clarke.
The resurrection occurred in the middle of the century because of the desire to restore thousands of church windows across Europe that were destroyed by World War II bombings. German artists lead the way. Many of the period's works are common and often not made by the designers, but are produced industrially.
Other artists attempt to convert the ancient art form into contemporary forms, sometimes using traditional techniques while exploiting the glass medium in an innovative way and combined with different materials. The use of sheet glass in concrete is a 20th century innovation. Gemmail, a technique developed by French artist Jean Crotti in 1936 and refined in the 1950s, is a type of stained glass in which adjacent glass pieces overlap without the use of lead cames to join the pieces, allowing for the diversity and subtlety of the colors greater than. Gemmail Definition Many famous works by 19th and early 20th century painters, especially Picasso, have been reproduced in gemmail. The main exponent of this technique is German artist Walter Womacka.
Among the early 20th century artists who experimented with stained glass as an Abstract art form were Theo van Doesburg and Piet Mondrian. In the 1960s and 1970s Expressionist painter Marc Chagall produced the design for many stained glass windows that were stained and crammed with symbolic detail. The most important 20th century stained glass artists include John Hayward, Douglas Strachan, Ervin Bossanyi, Louis Davis, Wilhelmina Geddes, Karl Parsons, John Piper, Patrick Reyntiens, Johannes Shreiter, Judith Schaechter, Paul Woodroffe, Jean Renà © © Bazaine di Saint Sà © à © verin, Sergio de Castro di Couvrechef-La Folie (Caen), Hamburg-Dulsberg and Romont (Switzerland), and the Loire Studio of Gabriel Loire at Chartres. The western window of the Manchester Cathedral of England, by Tony Hollaway, are some of the most prominent examples of symbolic works.
In Germany, the development of stained glass continued with inter-war work of Johan Thorn Prikker and Josef Albers, and postwar achievements of Joachim Klos, Johannes Schreiter and Ludwig Shaffrath. Trends include the abandonment of figurative designs and paintings on glass that support the combination of biomorphic abstractions and strict abstractions as well as the use of non-functional calligraphic referrals. The works of Ludwig Schaffrath demonstrate the late twentieth century trend in the use of stained glass for architectural purposes, filling the entire wall with tinted and textured glass. In the 1970s young British stained glass artists such as Brian Clarke were influenced by large scale and abstractions in German 20th century glass.
In the UK, a professional organization for stained glass artists is the British Institute of Glass Scientists, founded in 1921. Since 1924 BSMGP has published its annual journal, The Journal of Stained Glass. It continues to be the only British organization dedicated exclusively to stained glass art and craft. From its inception, its primary purpose was to promote and encourage high standards in the painting and stained glass staining, to act as a locus for the exchange of information and ideas in stained glass crafts and to preserve the priceless stained glass heritage of England. See www.bsmgp.org.uk for recent glass lectures, conferences, tours, portfolio of recent colored glass commissions by members, and information on courses and conservation of stained glass. Back issues The Journal of Stained Glass is listed and there are indices sought for stained glass articles, an invaluable source for stained glass researchers.
In the United States, there is a 100-year-old trade organization, The Stained Glass Association of America, which aims to function as a publicly recognized organization to ensure the survival of crafts by offering guidance, instruction and training for craftsmen. The SGAA also sees its role as defending and protecting its craft against rules that may limit its freedom as a form of architectural art. The current president is Kathy Bernard. Today there are academic institutions that teach traditional skills. One of them is the Master Craftsman Master Program from Florida State University, which recently completed a 30 foot (9.1 m) stained-glass window mounted at Bobby Bowden Field at Doak Campbell Stadium. The Roots of Knowledge installation at Utah Valley University in Orem, Utah is 200 feet (61 m) long and has been compared to those in several European cathedrals, including Cologne Cathedral in Germany, Sainte-Chapelle in France, and York Minster in England.
Combining ancient and modern traditions
Buildings incorporating stained glass windows
Church
Stained glass windows are usually used in church for decorative and informative purposes. Many windows are donated to church by members of the congregation as a warning of loved ones. For more information on using stained glass to illustrate religious subjects, see Bible of the Poor.
- Important examples
- Chartres Cathedral, in France, glasses from 11 to 13 centuries
- Canterbury Cathedral, in England, the 12th to 15th centuries plus 19th and 20th century glass
- York Minster, in England, glasses from 11 to 15 century
- Sainte-Chapelle, in Paris, glasses of the 13th and 14th centuries
- Florence Cathedral, Italy, 15th century glass designed by Uccello, Donatello, and Ghiberti
- St. Andrew's Cathedral, Sydney, Australia, the earliest complete cycle of the 19th century glass, Hardman of Birmingham.
- Friborg Cathedral, Switzerland, full cycle glass 1896-1936, by JÃÆ'³zef Mehoffer
- Coventry Cathedral, England, the mid-20th century glass by various designers, the great baptismal window by John Piper
- Brown Memorial Presbyterian Church, extensive window collection by Louis Comfort Tiffany
Synagogue
In addition to Christian churches, stained glass windows have been incorporated into the Jewish temple architecture for centuries. Jewish communities in the United States saw this emergence in the mid-nineteenth century, with prominent examples such as the holy portrayal of the Ten Commandments in the New York Congregation Anshi Chesed. From the mid-20th century to the present, stained glass windows have become a feature of the American synagogue architecture scattered everywhere. The styles and themes for synagogue stained glass art are as diverse as their church counterparts. Like churches, synagogue stained glass windows are often reserved by member families in exchange for major financial contributions to the institution.
Places of worship
Home
Stained glass windows in homes are very popular in the Victorian era and many surviving domestic examples. In its simplest form they typically depict birds and flowers in small panels, often surrounded by cathedral glass machines that, regardless of its name, are pale and textured. Some large houses have fine examples of secular pictorial glass. Many small houses of the 19th century and early 20th century have main windows.
- Prairie style house
- Frank Lloyd Wright's Houses
Public and commercial buildings
Stained glass is often used as a decorative element in public buildings, initially at study sites, government or justice, but increasingly in other public and commercial places such as banks, retailers and railway stations. Public houses in some countries use stained glass and large lights to create a comfortable atmosphere and maintain privacy.
Statue
See also
References
Further reading
External links
- http://www.bsmgp.org.uk
- http://www.sgaaonline.com/pdf/071-LaFarge.pdf
- Preservation of Stained Glass
- Stained Glass Window Window Church recorded by Robert Eberhard, covering ~ 2800 churches in southeastern England
- Institute for Stained Glass in Canada, over 6000 photos; a multi-year photography survey of the legacy of Canada's stained glass
- The Stained Glass Museum (Ely, England)
- Stained glass guide (English)
- "Stained Glass". Glass . The Victoria and Albert Museum. Archived from the original on December 23, 2012 . Retrieved June 16 2007 .
- Gloine - Stained glass in Irish Church Research conducted by Dr David Lawrence on behalf of the Church of Ireland Representative Church of Ireland, partially funded by the Inheritance Council
- Stained glass windows by Sergio de Castro in France, Germany and Switzerland
Source of the article : Wikipedia
0 Comments