Then, in , he founded a studio with Owen J. Bowen had formerly worked for both Tiffany and La Farge. A visit to the cathedrals of Europe inspired Heinigke with a love for medieval stained glass. Connick had apprenticed in the studio of the Rudy Brothers in Pittsburgh where he worked on opalescent glass. He later apologized for once admiring it. He moved to Boston to found his own studio and met Cram. Connick wrote a very popular book, Adventures in Light and Color, which he dedicated to Cram.
He remained president of the Stained Glass Association of America for nine consecutive years during which time he ran it like a dictator. His second in command, Orin Skinner, was editor of Stained Glass for 15 years. Since Connick was closely associated with the architect who was the accepted authority, everyone adopted his principles without question. The stained glass craftspeople working in the neo-Gothic style understood very little about medieval iconography, which no one other than a few scholars had cared about for centuries.
They imitated the color palette of Chartres, principally red and blue, with touches of secondary colors. They imitated the forms, medallion windows for the aisles and large figures for the clerestories. He embraced the integrity of materials; stone should look like stone, wood like wood, glass like glass. He introduced a new direction towards open interiors, a perfect setting for clear glass doors and windows. His designs featured straight parallel lines and small squares in repeated patterns.
The Martin house in Buffalo has over leaded windows and a gallery between the house and a greenhouse. Like Wright, Sullivan designed the glass as an integral component of the architecture.
The creative artist is the man who controls all this and understands it. His piano pieces include Airplane Sonata and Mechanisms. Arthur Honegger composed Pacific , glorifying a locomotive. The dancers wore costumes suggesting skyscrapers. The score included typewriter noises. Stained glass also glorified the machine.
A French exhibition catalogue including work by Jeannin shows a series of stained glass windows in a newspaper office depicting transportation of news by auto and boat. Paule and Max Ingrand, in the Paris Exposition of , showed stained glass panels of an airplane, an ocean liner and a jazz band. In the same exhibit J. Largillier had a panel of a train.
The great movie palaces of the 20s and 30s with exotic decors featuring artificially lighted panels and giant skylights and opalescent glass light fixtures are a true expression of art deco. In Switzerland, the first symptoms of a renewal are found in , thanks to the competition opened for new windows in the Cathedral of Saint Nicholas, Fribourg. A Polish artist, Joseph Mehoffer, won the contest.
The setting of those windows is a decisive date in the history of modern stained glass because they announced a renaissance on all sides. They were installed between and It is newer and more beautiful than we make in France. Under their spell, Alexandre Cingria changed from a painter in oils to decorative art. Producing windows whose brilliance dispersed the shadows cast by trite religious rubbish, he and his brother, Charles Albert, began to write criticism of the current ecclesiastical art.
Cingria became the leader of a group of young artists who called themselves the Society of Saint Luke. In Protestant Swiss Romond, they engineered a rebirth of Catholic arts. Thanks to Cingria, this was the most fruitful of all similar European movements. Worthy of much acclaim are Swiss artists Augusto Giacometti who is a brilliant colorist and Louis Rivier whose work is reminiscent of art nouveau style.
Hans Stocker and Otto Staiger shared the same goals — to revitalize sacred art. In German Switzerland, they started a group they called Rot-Blau red-blue which flourished from to They received so much publicity on the church at Assy that they quite overshadowed the earlier groups who had first voiced the same goals.
Regardless of whether Maurice Denis took the new ideas from Switzerland to France, he collaborated with Marguerite Hure on windows in a landmark church, Notre Dame du Raincy, , a concrete church with walls constructed of colored glass.
Since , the city of Nancy had been a center of arts and crafts. Jacques Gruber worked there with Daum Freres Glassworks. A process of casing colored glass over white glass was first developed for decoration on vases. Windows by Marguerite Hure had already been installed in the crypt and one window designed by Rouault had been contracted to be fabricated by Jean Hebert-Stevens.
The earliest windows designed by Chagall and executed in by Paul Bony are in the baptistry at Assy, as is his ceramic mural of the Israelites crossing the Red Sea. Because the community housed a large tuberculosis sanitarium, the aisle windows contain saints associated with healing by Maurice Brianchon, Father Couturier, Paul Bony, Adaline Hebert-Stevens and Paul Bereot.
The church at Assy is an exciting one artistically, although its failure may be from a lack of homogeneity. It was the center of heated controversy. Because it stood firm, other churches had the courage to employ important artists who worked in contemporary idioms. Alfred Manessier designed the first abstract windows for the small country church at Les Bre[accent]seux and created a rare jewel there.
Think of the products of Mayer and Zettler. Revolutionary art movements proliferated in Germany and Austria about the end of the nineteenth century. They joined, broke up and rejoined like amoeba. Nearly all groups published manifestoes, most of which were muddy in concept.
Werkbund and Werkstatte continued arts and crafts traditions. There was a little interest in stained glass in these groups, but not as much as in their English counterparts. Theo van Doesburg was associated with de Stijl in Holland. In , he met Walter Gropius in Berlin who invited him to come to Weimar to give two courses at the Bauhaus.
This fine school united all disciplines of art and craft, its influence spreading more widely when it was closed by the Nazis and its staff fled from the country, many to the United States. Josef Albers was doing stained glass at the Bauhaus. In to , he made windows for a few villas in Berlin, now destroyed. Van Doesburg worked with Jean Arp and Sophie Tauber Arp in to produce a series of stained glass windows, their geometric compositions depending for interest upon thick lead lines.
The real progenitor of contemporary German stained glass was Johann Thorn-Prikker He was a restrained expressionist and he produced fabric design, murals, mosaics, posters, and illustrations, in addition to a completely new style of stained glass. His first commission was for the fenestration of The Three Kings Church in Neuss, which he produced in These windows were an important critical success but the conservative church authorities refused to allow them to be set until He worked in subject, symbol and non-objective styles.
He produced a monumental Crucifixion window for a cloister in Marienthal near Wesil in His windows for Bonn Cathedral, , are notable for lyrical color and cubist influence. Wendling is best known for monumental windows in the choir of Aachen Cathedral. They blend some figures with geometric ornament. Erhard Klonk is another stained glass designer who worked in several media. He designed mosaic, laminated, fused glass and an interesting shallow carved wall technique called sgraffito.
His stained glass designs are figurative, playful and naive. Some consider Georg Meistermann the most versatile German stained glass designer. In , he produced his first stained glass, but this was destroyed in World War II. He was especially busy after the war providing stained glass for old churches that had lost their windows, such as Saint Marien in Koln-Kalk, Cologne fabricated by Oidtmann.
He is well known for a giant abstract window in a Cologne radio station. Ludwig Schaffrath has been called the most monumental stained glass designer. After Technical School he became the assistant and collaborator of Wendling, who somewhat influenced him. He renounced all pictorial art in favor of decorative lines. His first stained glass installation was the colorless glass windows in the cloister of Aachen cathedral. He also designs large mosaics of stone, glass and other materials. In his maturity, he had the courage to travel in new directions and has achieved new heights in his window wall in a railroad station in Omiya, Japan, which was fabricated by Oidtmann.
This project is still abstract, but in the true sense of the word, inspired by light and water. It is right for the location in scale and color, which is bright, not monochromatic like his earlier work. He has great influence on young artists through his traveling and teaching workshops.
His work always attracts publicity. He developed a new style using light filtered through glass with prominent geometric lead lines. Jochem Poensgen, born , leaned heavily on colorless industrial glass. He used sandblasting, tempering and incorporating plaques of cement. Carefully controlled light penetrates between repeated shapes.
Wilhelm Bushulte, born , turns to figurative abstract art. He developed his ideas in relation to architecture, as did his contemporaries, but his shapes and colors were more exciting than the usual German monochrome. He uses saturated color balanced against white opal glass. The period after World War II was devoted to restoration, rebuilding and replacing destroyed buildings and stained glass. A new generation of stained glass artists reached adulthood after World War II, some copying their masters, and some developing along new lines.
From William Morris forward, the English produced a lively amount of work, but in more or less the same style, by more or less the same studios. Most significant of all was the new Coventry Cathedral built in A whole new building was constructed at right angles to the ruins of the old. This is the masterpiece among masterpieces in this giant edifice. The small stained glass department at the Royal College of Art began from the Morris tradition.
A highly successful college exhibition in under the directorship of Lawrence Lee and an article published in the college journal brought the department to the attention of the architect Basil Spence. He approached the college about stained glass for Coventry and the students were invited to submit sketches. Scholars were to be paid like professionals to quiet any accusation of unfair competition. These are on an angle, are seen from the chancel, and throw light on the altar.
Spence chose the colors and themes; youth: green, the first flush of adulthood: red; midlife: multi-colored; old age: deep purple with flecks of gold; after-life: golden. The designs are semi-abstract. Each of the three artists designed two windows in their color preference. Margaret Traherne was chosen to design windows in dalle de verre for the Chapel of Unity.
Piper worked in many media before he turned to stained glass as his career matured. The collaboration of these two artists on windows for the Oundle School Chapel led to the commission to do the baptistry at Coventry. They produced the most lively, interesting work in England. The Technique of Stained Glass is very complete, geared to a professional approach and is considered by many to be the best of its kind. Erwin Bossanyi was one of the greatest stained glass craftsmen in our era.
He worked for 15 years in Germany and, in , fled to England, accounting for his inclusion with the English craftspeople. His themes are both naive and sophisticated. He alone did the design and fabrication of his work so his output was limited. The first McCausland was trained in Ireland. This studio does traditional windows, and has done two-thirds of all the stained glass in Canada.
Yvonne Williams, a native Canadian, after apprenticing with Connick and working briefly in the United States, opened her studio in Toronto in She trained many craftspeople such as Ellen Simon. There is also a group of Canadians doing abstract architectural stained glass heavily influenced by the modern Germans. As Australians and New Zealanders became wealthy enough in the late 19th century, they imported stained glass from England.
An unusual feature of it was the use of native flora and fauna as decorative elements. The depression of the s put the few native studios out of business. In the s and s, Australia experienced a cultural awakening. The arts produced, though based on European models, had an Australian emphasis. In the s, a group of young artists began making autonomous panels. New Zealand has a lively tradition of decorative domestic windows.
New Zealand students returned home after studying in the United States with news of the German influence. They also trace some influence to Japanese visitors. In , Ludwig Schaffrath lectured and gave workshops in Australia. An exhibition of contemporary German glass accompanied him to Sydney, Canberra, Melbourne and Adelaide.
He also lectured at Langer, New Zealand. Paul Blomkamp wrote a letter that was printed in Stained Glass in the Fall issue of in which he described his work in stained glass in South Africa.
Because lead came was impossible to find, he began to use resin bonding but using thin glass, not dalles. Later, he bought a lead milling machine from Germany.
Leon Theron is producing faceted glass in South Africa. An American, Reed Harvey is teaching stained glass in Liberia.
He and his pupils have created church windows that have a primitive naivete in Monrovia. In , he established a studio for leaded glass, etching, beveling and silvering mirrors. Juan Navarrete was their designer. He taught Francisco Lugo, whom in turn taught Enrique Villasenor.
In , Villasen[accent]or set up a stained glass department in the Architectural School of the National University of Mexico. In , Diego Rivera produced designs for stained glass windows in the Palace of Health. The windows were executed by Villasen[accent]or. Mexican stained glass consistently won medals at International Expositions. In , Rufino Tamayo designed a laminated glass mural that was executed by Glasindustrie Van Tetterode in Amsterdam.
Sometimes a stained glass artist is associated with more than one country, or at least, his principal work was not done in his native land. Arnold Maas was Dutch, worked for a time at the Rambusch Studio in New York, but is associated principally with Puerto Rico where his most distinctive work is found.
When Joep was young he studied law, and painted for a hobby. When he began to win prizes for art, he slipped into the family business. In , he left Holland for New York. His daughter is carrying on the family tradition of working in stained glass. Belgium and Holland have a grand tradition of Renaissance stained glass. Hendricx, Michel Martens and F. Colpaert have worked there in the contemporary style.
In , an exposition that spurred artists and decorators to explore art nouveau designs was held in Turin. Giovanni Beltrami from Milan produced decorative windows for Casino Pellegrino in Vichy, France between and These are not very original. Scipione Ballardini, born , was responsible for the revival of stained glass in Verona in the twentieth century.
After his death, his studio continued under Ghidoli. The windows in Fribourg by Jozef Mehoffer were mentioned in relation to Switzerland. The artist studied in Paris where he was associated with the Nabis and exhibited paintings with the Vienna Secessionists. Some of his windows exist in Wawel Cathedral as well as in Switzerland. Panels by six member studios and some apprentices were displayed along with many photographs.
Henry Lee Willet was the official representative. He and a Polish stained glass craftswoman Maria Powalsz demonstrated the process for six weeks. At that time, he reported six stained glass studios in all of Poland. One had just been put out of business for stockpiling materials. When Willet returned, he brought with him a short film of the Dobrzanski stained glass studio in Krakow.
The craftsmen are shown working on a set of saints for an orthodox monastery which are very beautiful and resemble Byzantine icons. Emmanuel Vigelund, a Norwegian master craftsman, was born in and attended the School of Arts and Crafts in Christianna from to He then traveled and worked in Kroyer, Copenhagen and Paris. Vigelund won the Henricksen prize to study stained glass in France. Einar Forseth designed five windows for the new Coventry Cathedral in England, a gift from the churches of Sweden.
Nina Tryggvadottir, an Icelandic artist, has work fabricated by Oidtmann in Germany. She designs with paper collage. There is no tradition of stained glass in the Orthodox churches in Russia. Stained glass has been made in Lithuania for at least four centuries. They are typical of turn of the century German work. Latvian stained glass craftsmen include such men as Karlis Brencens, who set up a course in an art school in and Janis Rozentals who created patriotic themes.
Stasys Usinskas is the father of Lithuanian stained glass. He studied in Paris and his work is very representational. Algimentas Stoskus, born , produced innovative dalle de verre using very thick slabs. His work is non-representational. His pupils include Kazimieras Morkunas, whose dalles look to be molded to shape; Antanas Garbuskas, who uses both dalles and leaded glass to make allegorical figures and conventional ornament; Anorte Mackelaite; Filomena Usinskaite; Kostantinus Satunas and Bronius Bruzas.
Simon Studios in Reims, France fabricated these in ; the panels were displayed in New York city before they were installed. Their theme is the Twelve Tribes of Israel. Katsutoshi Kuno, a member of the Stained Glass Association of America, reported that there were 1, stained glass artists in Japan in Unozawa is the father of Japanese stained glass.
He studied in Germany and, in , started a small studio in Japan. Matsumoto joined him in Between and he worked in several U. He returned to Japan in and founded his own active studio, which continued until his death in The craft became immensely popular after World War II.
A beautiful Japanese stained glass magazine is published, unfortunately, however, not in English. The most successful and most widely accepted new technique in the world of stained glass today is dalle de verre, better known as faceted glass, which is set into epoxy or other material.
Its process of production results in a mosaic-like approach of pure color effects that can be utilized in window openings or entire walls. While the medieval craftsman, joining small pieces of glass with lead to make intricate designs, achieved the same effect for Gothic cathedrals, the earlier Byzantines transferred their mosaic patterns into colorful window designs. Present day development of the technique stems directly from this beginning.
Arabic type examples can be found in Spain, apparently finding their way from North Africa with the Moslem Invasion. Although the actual glass is no longer in place, the feathery stonework grills that remain definitely indicate they must have been filled with colored glass.
With these examples the Gothic tribes moving west used similar applications in stone mullions in France during the fifth and sixth centuries.
The Islamic law of prohibiting the use of human likenesses being depicted within the mosque, and simultaneously, the Christian practice of encouraging the use of figure likenesses of Christ — the Apostles, angels and saints — in all the decorative media of the church may have implemented the change to the thinner leaded glass medium.
The Middle Eastern antecedents of dalle de verre seem to have vanished for several hundreds of years, until the s, when French glass artists, experimenting with various new architectural directions, revitalized the ancient techniques.
Early pioneers in the modern development of dalle de verre include Auguste Labouret and his collaborator Pierre Chaudiere. Labouret was born in St. Share Flipboard Email. Table of Contents Expand. Definition of Stained Glass. History of Stained Glass Windows. How to Make Stained Glass. Gothic Window Shapes.
Medieval Cathedrals. Medieval Meaning. Cistercian Stained Glass Grisailles. Gothic Revival and Beyond. Selected Sources. Kris Hirst K. Kris Hirst. Kris Hirst is an archaeologist with 30 years of field experience. Her work has appeared in scholarly publications such as Archaeology Online and Science. Learn about our Editorial Process. Key Takeaways: Stained Glass Stained glass windows combine different colors of glass in a panel to make an image.
The earliest examples of stained glass were done for the early Christian church in the 2nd—3rd centuries CE, although none of those survived. The art was inspired by Roman mosaics and illuminated manuscripts. The heyday of Medieval religious stained glass took place between the 12th and 17th centuries. Abbot Suger, who lived in the 12th century and reveled in blue colors representing the "divine gloom," is considered the father of stained glass windows.
Featured Video. Cite this Article Format. Hirst, K. Architecture for our Spirit and Soul - Sacred Buildings. The Clerestory Window in Architecture. A Palace and Cathedral After an Earthquake. Antoni Gaudi, Art and Architecture Portfolio. When put together like pieces of a puzzle, the whole window became stabilized by an iron frame.
Today, Cumberland Stained Glass of Mechanicsburg, PA, is in the business of building, installing and restoring stained glass.
When restoring old windows, workers not only document the window first, but also dismantle the panes and clean each piece of glass much to the delight of owners. Just like in The Middle Ages, stained glass is still providing exquisite beauty for all those who experience it. The glass is from the early medieval period and covers a wide variety of religious subjects, as well as scenes of donors carrying out their trades.
Some of the glass dates back to the s, and there are more than stained glass windows. Wednesday, January 12, Sign in. Forgot your password? Get help. Password recovery. World History.
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