Stained Glass

A short overview of the Oberlin Memorial Windows, a series of five stained glass windows installed in Hamden Memorial Town Hall in 1939 by the the Town of Hamden with assistance from the New Haven Chapter of the Yankee Division Veterans Association. The windows tell the story of A. Frederick Oberlin and the Battle of Seicheprey (northeastern France), on April 20, 1918.  The windows demonstrate how closely men of the 102nd Regiment, 26th "Yankee" Division remained in their post-war lives, coming together throughout the 1920s and 1930s to continue the remembering process of their WWI experiences.

A iluminação de espaços sagrados não é devidamente observada como elemento relevante para a eficácia de tais ambientes. Todavia, a contínua construção e manutenção de igrejas cristãs ao longo de milênios tem manifestado a luz como dotada de força simbólica excepcional e primordial para a percepção do espaço sagrado como lugar de encontro com o divino. O presente artigo trata da luz, manifestadora do transcendente, a partir de abordagem simples, para divulgação em site da empresa D’Falco Vitrais, solicitante do trabalho. São elencados alguns princípios conceituais e diretrizes para o planejamento da luz no espaço sagrado, a partir da análise do vitral como técnica que alia luz e cor, que diz do visível e do invisível.

ABSTRACT
The lighting of sacred spaces is not properly observed as a relevant element for the effectiveness of such environments. However, the continuous construction and maintenance of Christian churches over millennia has manifested the light such as endowed with exceptional and primordial symbolic strength for the perception of the sacred space as a place of encounter with the divine. This article deals with light, a manifestator of the transcendent, from a simple approach, for dissemination on the website of the company D’Falco Vitrais, who requested the work. Some conceptual principles and guidelines for the planning of light in the sacred space are listed, based on the analysis of stained glass as a technique that combines light and color, which speaks of the visible and the invisible.

Chronique

Vitraux, XIXe-XXe siècle. Louis Léglise : redécouverte d’un peintre-verrier, collaborateur régulier d’Henri-Marcel Magne, p. 3-4.

Recension de l'article : Hélène Bocard, «Le peintre-verrier Léglise : des chantiers religieux de Henri-Marcel Magne au décor de mairies parisiennes», Point Riche, no 17, juin 2019, p. 3-16.

This chapter deals with the origins of stained glass: why, when, and what was used to screen the windows in buildings before c. year 1000. Archaeological finds made in the last few decades have confirmed what was hinted by textual sources and by occasional finds: glass was indeed employed in the windows before the High Middle Ages, although it was cut in geometrical shapes and did not show any painting. While Roman and late Roman buildings – baths, private dwellings, then Christian basilicas – have shown remains of geometrical panes, the earliest instances of figurative stained-glass windows, made with panels cut like sectilia, date to the early eight century and have been found in Merovingian France and Anglo-Saxon England. A large fragment of what is by now the earliest figurative window in the West with its original leading, in which pieces of coloured glass are held together to create the bust of Christ – still like an opus sectile, with no painting on it – has come to light in 2007 in a central-Italian monastery destroyed in 881 AD. The appearance of the painting called grisaille, with which it was possible to achieve more detailed figurative designs than simply by juxtaposing geometrically cut panes, is instead to be localized in the northern Carolingian domain, and dated after the mid-eighth century. The contemporary evolution of window screens in Byzantium and in Islam will also be taken into account in a comparative approach.

Kanon ikony w sztuce witrażu Adama Stalony-Dobrzańskiego, [w:] Sztuka sakralna pogranicza. Materiały z konferencji naukowej II Międzynarodowego Festiwalu Sztuki Sakralnej Pogranicza, Przemyśl 11-12.10.2013, t. 2, red. Z. Bator, M. Trojanowska, Przemyśl 2016, s. 263-272.

Een kuil vol vensterglas en glazeniersafval uit Oldenzaal geeft een schat aan informatie. Niet alleen over gebrandschilderd glas uit de vijftiende tot de zeventiende eeuw en over het wereldbeeld van de inwoners van Oldenzaal in die tijd, maar vooral over het ambacht en het netwerk van een glazenier.

Design and Fabrication of Graphite and Alumina filled glass epoxy using hand lay-up technique. An experimental
study on the effect of different drill tool diameter on the thrust force, torque and flank wear when drilling particulate filled GFR
thermoset composites. Investigation on the effect of cutting parameters (rate of feed and speed cutting) on material and tool
when drilling particulate filled GFR thermosets composites. Flank wear will be measured using Optical Microscope. Glass fibers
are the earliest known fibers used to reinforce materials. Ceramic and metal fibers were subsequently found out and put to
extensive use, to render composites stiffer more resistant to heat.

The aesthetics of the visual arts within monasticism in the Middle Ages was far from monolithic.  Using the writings of Suger of Saint-Denis and Bernard of Clairvaux as my primary vehicles, this short article gives a brief overview of some of the issues involved in monastic aesthetics, such as materialism, monastic social entanglement, the Cult of the Dead and the Cult of Relics, the pilgrimage and the new money economy, the localization of the holy, the necessity of pilgrimage art, and monasticism’s “crisis of prosperity.”  I take up Bernard’s critique of the monastic investment in art, the sensory saturation of the holy place (particularly through excess in material and craftsmanship), the manipulation through art of the equation between excessive art and holiness in the popular conception, expenditure on art rather than on the care of the poor, and art as a spiritual distraction to the monk.  And I briefly discuss Cistercian artistic aestheticism, the aesthetics of excess, the claim that art could act as a spiritual aid similar to scriptural study, and the role that all of this had in the shaping of what is known to us as Romanesque and Gothic art.

Antoni Rigalt i Blanch was the most relevant glass
manufacturer of the Modernismo (Art Nouveau)
period. His legacy was continued by his son Lluís
Rigalt i Corbella, who followed the steps of his father.
The collection of the work carried by these two glass
manufacturers provides a very complete view of what
happened within the stained glass art during its highest
point in Catalonia, which is comprised between the
end of the 19th century until the end of the Spanish
Civil War (1936-1939). We will go through this period
analyzing the different changes in the authors’ tastes
and techniques.

In Artistic Change at St-Denis: Abbot Suger's Program and the Early Twelfth-Century Controversy over Art (Princeton University Press, 1990), I apply the conclusions of my earlier study of the social theory of medieval art as presented in The "Things of Greater Importance": Bernard of Clairvaux's Apologia and the Medieval Attitude Toward Art (University of Pennsylvania Press, Philadelphia, 1990) to a complex and previously only partially understood case--that is, I test the practicality of my earlier study.  The art program of the monastery of Saint-Denis, just outside Paris, under Abbot Suger (1122-1151) is of enormous importance in the history of art, being considered to be the origin of Gothic architecture, sculpture, and stained glass.  Suger's writings, upon which I base my study, are among the most famous in the history of art.  In applying the issues of the early twelfth-century controversy over art to this program, it becomes clear that the situation at Saint-Denis was more complex than previously thought.  For example, rather than being the artistic expression of centuries-old Pseudo-Dionysian light mysticism, as has been believed, it can be shown that the artistic change initiated at Saint-Denis was a middle-ground reaction to the current controversy over art, especially to the criticism that art acted as a spiritual distraction to the monk.  And far from being the product of the personal idiosyncrasies of Suger, as has often said, the well known obscurity of the art of Saint-Denis was an intentional obscurity whose purpose was to provide an art so complex that it could be used as a justification of monastic art in its claim to function on the same level as scriptural study, which was unquestioned as a legitimate monastic pursuit.  It was in this sense that Suger wrote that his art was "accessible only to the litterati"--and not to the visiting illiterate pilgrim--previous scholarship not realizing that, in the vocabulary of early twelfth-century monasticism, litteratus is a technical term referring to the literate choir monk.  At the same time, however, I also show that Suger's claim can be fully understood only with recognition of the inherent contradiction that these same artworks were in fact fully accessible visually, if not intellectually, to the visiting illiterate lay pilgrim as well--a contradiction of which Suger was fully aware.  My conclusions, which have become broadly accepted, have fundamentally changed our view of the best-known moment of artistic change in medieval art history.

Pablo Palazuelo soñó desde la ventana de su residencia parisina con las vidrieras de la iglesia de Saint Severin. Posteriormente, cuatro proyectos le brindaron la posibilidad de dibujar con la luz y materializar el color. Gracias a los documentos inéditos atesorados por la Fundación del pintor, este estudio propone analizar el proceso desarrollado durante la elaboración de sus propuestas para vitrales. Reunidos por primera vez, los diseños para la residencia Arango, Valdemorillo (1984-1986), la parroquia de San Salvador, Guetaria (1995-1996), la casa comercial Palazuelo, Madrid (1996) y el Auditorio, Barcelona (1998), ilustran esta incursión en el terreno del umbral lumínico. /

Palazuelo Pablo dreamed from the window of his Paris residence with the stained glasses of Saint Severin church. Subsequently, four projects provide him the ability to draw with light and materialize colour. Thanks to the unpublished documents treasured by the Foundation of the painter, this study aims to analyze the process developed during the preparation of his proposals for stained glass. Gathered for the first time, the designs for residence Arango, Valdemorillo (1984-1986), the San Salvador parish, Guetaria (1995-1996), the trading house Palazuelo, Madrid (1996) and the Auditorium, Barcelona (1998), illustrate this raid into the field of the light threshold.

Quand on étudie la production artistique champenoise sous le principat du comte Henri Ier le Libéral, la question des modèles se pose immédiatement, en particulier pour le chantier de reconstruction de la collégiale Notre-Dame-en-Vaux et de son cloître (v. 1152-1180).W. Sauerländer et L. Pressouyre en ont souligné l’importance à de nombreuses reprises et nous même y avons récemment consacré une longue étude (2012). Les rapports qu’entretient le décor sculpté du cloître châlonnais avec la production picturale troyenne (vitraux, enluminure et émaux) des années 1170-1180, mis en lumière à l’occasion de l’exposition Une renaissance en 2013, nous amène à revenir encore une fois sur cette question des modèles, de leur circulation entre le chan- tier châlonnais et ceux troyens et provinois initiés par le comte de Champagne, de leur nature et de leur usage par des artistes dont certains paraissent être exogènes. Ce questionnement est d’autant plus crucial que cette production picturale locale semble, de prime abord, une synthèse des styles qui se déploient alors sur les sculp- tures du cloître, elles-mêmes fruits de la collaboration entre plusieurs sculpteurs à la personnalité bien affirmée.
The Sources and Diffusion of Models in the Figurative Arts of Champagne around 1160-1180:The Case of Notre-Dame-en-Vaux in Châlons-en-Champagne
When we study artistic production in Champagne under the principate of Henry I, Count of Champagne, also known as Henry the Liberal, the issue of models immediately arises, particularly in relation to the recon- struction of the Collegiate Church of Notre-Dame-en-Vaux and its cloister (c. 1152-1180).W. Sauerländer and L. Pressouyre underlined the importance of this case many times and we ourselves recently devoted a long study (2012) to it.The connection between the sculpted decor of the cloister in Châlons and the pictorial production in Troyes (stained glass panels, illuminations and enamels) of the 1170-1180s, which was brought to light on the occasion of the exhibition Une renaissance in 2013, brings us back once again to the issue of models: to their diffusion between the Châlons construction site and those of Troyes and Provins, initiated by the Count of Champagne; to the nature of the models; and to their use by artists, some of whom appear to be exogenous to the area. Such questions are all the more essential since this local pictorial production seems to be, at first glance, a synthesis of the styles used in the cloister sculptures, they themselves a product of the collaboration between several sculptors with very strong personalities.

In the early 1460s, Florentine artist Alessio Baldovinetti created the design for a stained-glass window exemplifying the possibilities of aesthetic cross-culturalism. Surrounding the centralized coats-ofarms of Piero di Cosimo de'Medici, a band of glass pieces displays laudatory epithets in the Naskḫī/Thuluth script usually reserved for elite members of the Mamluk Sultanate of Egypt. In this, the window's pan-Mediterranean iconography represents a rare example of non-pseudo, Arabic calligraphy incorporated into an artwork of medieval or Renaissance Florence. Attending closely to the literal and symbolic languages of power, the stimulating reputation of the Levant, and the insertion of the window into a popular site of Marian devotion, this article argues that the combined symbolism of the window's Medici heraldry and ostensibly "foreign" forms bolstered Piero's authority in Florence by communicating his patronage as that of public benefactor and private ruler based upon physical proximity to the object and social proximity to the patron.

Las vidrieras se forman con trozos de vidrio plano coloreado que se unen mediante tiras de plomo, todo lo cual se fija en el vano con una estructura de hierro o de madera. Lo único que tiene color son las piezas de vidrio; lo demás se ve negro, con lo cual se acentúan los efectos del color. Se procede con base en un modelo. De acuerdo con éste se cortan tantos trozos de vidrio como sean necesarios. Después se aplica a cada uno el esmalte o la grisalla correspondiente y se fija al vidrio sometiéndolo a la acción del calor en un horno. Hecho esto se colocan los trozos de vidrio en el lugar requerido y se unen con plomo, finalmente se aplican al panel el empaste y la pátina y así queda lista la vidriera para ser instalada en la estructura de soporte.

A Companion to Medieval Art: Romanesque and Gothic in Northern Europe, Blackwell Companions in Art History, 2nd ed. (Wiley-Blackwell, Oxford, 2019) (a collection of thirty-nine original essays from leading and upcoming scholars in the field, each historiographically analyzing one of a systematic and editorially determined range of subjects in the development of Romanesque and Gothic art history; eleven new essays were added to the revised original thirty essays of the first edition; this includes my introductory essay, "A Sense of Loss: An Overview of the Historiography of Romanesque and Gothic Art").

1. Introduction
A Sense of Loss: An Overview of the Historiography of Romanesque and Gothic Art
Conrad Rudolph

2. Artifex and Opifex – The Medieval Artist
Beate Fricke

3. Vision
Cynthia Hahn

4. Materials, Materia, "Materiality"
Aden Kumler

5. Reception of Images by Medieval Viewers
Madeline H. Caviness

6. Narrative, Narratology, and Meaning
Suzanne Lewis

7. Formalism
Linda Seidel

8. Gender and Medieval Art
Brigitte Kurmann-Schwarz

9. Gregory the Great and Image Theory in Northern Europe During the Twelfth and Thirteenth Centuries
Herbert L. Kessler

10. Iconography
Shirin Fozi

11. Art and Exegesis
Christopher G. Hughes

12. Whodunit? Patronage, the Canon, and the Problematics of Agency in Romanesque and Gothic Art
Jill Caskey

13. Collecting (and Display)
Pierre Alain Mariaux

14. The Concept of Spolia
Dale Kinney

15. The Monstrous
Thomas E. A. Dale

16. Making Sense of Marginalized Images in Manuscripts and Religious Architecture
Laura Kendrick

17. Definitions and Explanations of the Romanesque Style in Architecture from the 1960s to the Present Day
Eric Fernie

18. Romanesque Sculpture in Northern Europe
Colum Hourihane

19. Modern Origins of Romanesque Sculpture
Robert A. Maxwell

20. The Historiography of Romanesque Manuscript Illumination
Adam Cohen

21. The Study of Gothic Architecture
Stephen Murray

22. France, Germany, and the Historiography of Gothic Sculpture
Jacqueline Jung

23. Gothic Manuscript Illustration: The Case of France
Anne D. Hedeman

24. “Specially English”: Gothic Illumination c.1190 to the Early Fourteenth Century
Kathryn A. Smith

25. From Institutional to Private and from Latin to the Vernacular: German Manuscript Illumination in the Thirteenth Century
Michael Curschmann

26. Glazing Medieval Buildings
Elizabeth Pastan

27. Toward a Historiography of the Sumptuous Arts
Brigitte Buettner

28. Reliquaries
Cynthia Hahn

29. East Meets West: The Art and Architecture of the Crusader States
Jaroslav Folda

30. Gothic in the Latin East
Michalis Olympios

31. Art and Liturgy in the Middle Ages
Eric Palazzo

32. Architectural Layout: Design, Structure, and Construction in Northern Europe
Marie-Thérèse Zenner

33. Sculptural Programs
Bruno Boerner

34. The Art and Architecture of Female Monasticism
Jeffrey F. Hamburger

35. Cistercian Architecture
Peter Fergusson

36. Art and Pilgrimage: Mapping the Way
Paula Gerson

37. "The Scattered Limbs of the Giant": Recollecting Medieval Architectural Revivals
Tina Waldeier Bizzarro

38. Medieval Art Collections
Janet Marquardt

39. The Modern Medieval Museum
Michelle P. Brown

Most of the medieval window glass in England remains unpublished. This thesis contributes to the eventual realisation of a comprehensive history of this fragile
medium, through a study of window glass in the two Midland’s counties of Derbyshire and Nottinghamshire from the period 1400 to 1550. In it the evidence of
surviving glass and the evidence of lost glazing (derived from a wide range of published and unpublished sources) are presented as a unified whole in an analytical catalogue, following the conventions of the International Corpus Vitrearum Medii Aevi. A good deal of this material is presented for the first time. The catalogue forms the basis for a brief introduction, in which the themes of the patronage, iconography, style and technique of the glass are briefly considered.

Who is the female character represented in this stained glass? Is it Mary or Mary Magdalene? For those who claim that Mary Magdalene was Jesus’ mystical and sexual companion, there is no doubt that it is the second. And this is also how it is “announced” on several sites. This hypothesis is attractive but what is it really?

Bu araştırma camın plastik ifade olanaklarına ilişkin rengin cam sanatındaki kullanımlarının izini sürerken, camda renk ve anlatım ilişkisini inceleyerek bunu kullanan sanatçılara yer vermektedir. Rengin biçime yüklediği anlamlar dünyada cam malzemesini kullanan sanatçılar kapsamında ele alınmıştır.

İlk bölümde teknik açıdan camda renk olanaklarına değinilmiş, sanatçıların camı nasıl kullandıklarından örnekler verilerek teknik detaylara değinilmiştir. Renkle ilgili camın transparan yapısı göz önüne alınarak yapılan araştırmalara değinilmiş, ışık ve renk birlikteliğinin izi sürülmüştür. Anlatımda bu özellikleri kullanan sanatçıların eserleri üzerinden örnekler verilmiştir. Çizgisel ifade olanakları çerçevesinde neon uygulamaları ve roll-up tekniği kullanan sanatçıların biçim araştırmaları eser örnekleri eşliğinde sunulmuştur. Kompozisyonlarında rengi anlamın taşıyıcısı olarak kullanan sanatçılara yer verilmiş, rengi monokrom kullanan sanatçılara da değinilmiştir.