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. Quentin, France and developed the dalle de verre technique in the early 30s while working on glass in historic monuments. The artist sought a combination of modern strength and durability with a depth of color found in old glass. The thickness, broken surface and cut edge gives dalle de verre its characteristically rich translucence.
The negative matrix area that frames each pane of glass is visually much heavier than the lead in ordinary windows. This characteristic, as with the earlier Islamic pierced windows, enriches the color by creating a great contrasting brilliance. This juxtaposition of brilliant color and dark surrounds can be painstakingly achieved in flat leaded glass by elaborately painting or by a combination of etching and painting of flashed glass.
Dalle de verre lends itself best to direct and vigorous design. It is a broad medium that, generally, does not encourage copious detail. In the St. Christopher window that Labouret exhibited in the Pavilion du Vitrail in the Paris Exhibition of , he demonstrated that it was not incompatible with figure work, delicate detail and even lettering. A variety of forms could be seen at this Paris Exposition with the Egyptian Pavilion showing a typical Arabic style of glass pierced plaster encased windows in traditional patterns.
This was supposed to be the real origin of faceted glass. Variously called beton glass beton glas , concrete glass or mosaic glass, the renewal started and by had crossed the Atlantic when a beton glass window was installed in the Chapel at the Shrine of St. Anne de Beaupre, Quebec, Canada. This was designed and fabricated by Auguste Labouret and is believed to be the first such panel in North America.
Note particularly the individual blades of glass set together in undulating rows. This cutting effect could only be achieved by using a hammer. Notice the ornamenting on the garment itself, the flowers, sky and stars, and the glass rods used. Contrasting in size are the larger pieces in the garment and jewel box note the treatment on the edging of the jewel box.
The flesh seems to have been traced and a matted texture effects the shading somewhat differently from the effect in St. It is the work of Labouret, who has evolved a daring new technique in the manipulation of translucent materials. His windows, indeed, carry us far from the traditional method of setting flat pieces of glass in leads in the manner that has been followed for centuries.
By the use of thick slabs of glass which he sculptures, M. Labouret obtains a multiplicity of facets about which the lights play with a colour and an intensity which suggest the fire of precious stones. It is impossible to deny the remarkable effects he achieves by means of this new method, and it is easy to imagine the wealth of decoration, which it may, in the future, confer on our churches and cathedrals.
The several slabs of glass, it may, perhaps, be added, are held together with cement. Hubert window. Figure This is by Jean Gaudin and contains 16 panels with vignettes of the story running bottom to top. While there are indications of pate de verre influences, it is a stunning window by any standard. Pate de verre is a cast sculptured window; all the surface details are sculpted in a mold then the hot glass is poured into it.
All the cast pieces are then assembled using cement as a matrix. It is possible that dalle de verre and pate de verre developed simultaneously as they have similar surface treatments. It was not until the end of World War II that faceted glass use became more accepted, and even then, it was an evolutionary process.
The pent-up demands for new buildings in the United States and Europe after the war proved a fertile ground for the material, which was relatively easy to fabricate, comparatively inexpensive yet produced windows of brilliant color. This large installation has been billed as the finest in France with the windows completely dominating the atmosphere. It is a concert in color, rhythm and visual harmony.
By , additional windows had been fabricated and installed by Labouret for the St. Anne de Beaupre in Quebec, Canada. The complete job called for over windows of which he had completed and installed The work, St. Luke, from the circle window from the Basilica of St. Anne de Beaupre, Quebec, Canada, shows advancement of the dalle de verre concept.
The cutting is sharper, giving a crisper look to the window; there is ample use of negative space. The small amount of trace-like material used to delineate the nose, mouth, and ear of St. Luke, as represented by a winged ox, are surface treatments which are no longer used in this medium.
Anne to view them first hand. He uses pieces of glass four to six inches thick which are held together by cement instead of lead. I thought the windows were the work of a young artist and commented to a priest at the shrine that it took youth to think of a new approach. When the priest told me that Labouret was 78 years old I realized the windows were even more amazing.
Here is a man developing new techniques at an age when most men have retired. The exhibition included colored renderings, full size cartoons and finished pieces of dalle de verre. It expressed first-hand the media and all its potential to the American stained glass profession. Constructed in a form that resembled a gigantic fish, although the architect claims this was not done consciously but rather for acoustical effects , it is said to be one of the most powerful modern churches in the world.
Great walls of faceted glass designed and executed by Gabriel Loire of France literally saturated the interior with overpowering color. The First Presbyterian Church, Stamford, CT provided the springboard for American studios to abandon traditional taboos and energetically make up for lost time. The first American studio to design, fabricate, and install dalle de verre was that of Harold W. Cummings of San Francisco, California. The year was and the location was Belvedere, California for the St.
The media described as Vitrolith by Mr. Cummings was cast in concrete. The installation consisted of 12 nave windows approximately 17 by inches in a vertical design with 72 smaller rectangular openings scattered in a starry-like clerestory. Roger Darricarrere, a former pupil of Labouret joined Cummings on this project as a specialist familiar with the process.
The design throughout is of an abstract nature consisting of soft tints of color accented by powerful bands of rich color. The glass was hammercut as practiced by Labouret with the design boldly approached.
The monumental window walls admit a virtual lacework of colored light. The deeply recessed glass set in cement resembles a sculptured bas-relief of sparkling jewels.
Among these is dalle de verre. Not only is it deeply translucent, but it transmits light in clear brilliant colors. The thickness gives more depth and intensity to its color.
The unusual means of shaping it by chiseling adds to its character. Hammer cutting fractures the glass in uneven sizes with notched and somewhat jagged edges. Faceting the edges breaks up the surfaces with shell-like ripples and facets, which brings out forcefully the crystalline angular structure of the glass.
It is precisely this unique and individual charm of slab glass that appeals to artists, connoisseurs and patrons alike — and many priests and religions may be ranked among these. The material used to glaze early dalle de verre was a portland type cement.
In order to use this material properly, it was necessary to pour to a thickness of one to two inches on moderate sized panels and to a thicker size on large panels.
The pieces of glass used to make a panel ranged from two to six inches in thickness; it called for a thick pour of cement to produce a panel properly. In addition, the weight per panel was considerable. Cement also requires that a wire armature be incorporated into the panel for reinforcement against breaking while the thickness of the pour required that the cement be adequately cured before moving. Curing panels the process of letting the cement settle and harden properly , required additional wetting of the panels lest the cement dry out too quickly and crack.
Finally, considerable clean up was involved once the cement was dry. Moving a pound panel up six frames of scaffolding for installation required a hearty crew of men and a crane. Proper placement and adhesion was needed to allow the panel to expand and contract within the installation frame to prevent breaking.
A proper sash was also essential to receive the panel and the thickness and weight of the panel necessitated that it be a substantial one. It became apparent that portland cement did not have adequate adhesion to the glass and it was not uncommon for the cement and the glass to separate. Water could seep through and around the panel. When the cement was cast several times thicker than the glass, various internal stresses could cause the glass to suffer fractures.
There were problems, shortcomings and limitations in using cement. Since it had been used from the beginning, many windows were cast from it, but now some began to seek a better matrix. The search for a better matrix took some interesting turns. Some studios experimented with additives to various types of portland cement. About then, Sauereisen Acid resistant cement 54 surfaced.
Apparently this material was formulated as a coating for surfaces that were exposed to various types of acids. Its use as a dalle de verre matrix was interesting. The cost was relatively low and it was a lot easier to use than the regular portland cement. It cured in 24 hours and was lighter than regular cement. However, it did not have much strength and required a wire armature and larger panels. The recommended thickness of a pour on a moderate sized panel was one inch.
It was only available in white and its use with dalle de verre was limited. Then, Robert R. Benes of St. Louis, Missouri, had a better idea. Epoxy resin was initially formulated to serve as a lining for the oil pipeline divisions of Mobil Oil Company.
By coating the inside surface of the pipe with epoxy, any fuels passing through the line received less friction and incurred less heat buildup. This required less force from a pump to move the material.
Epoxy was being tried experimentally on many applications. Louis, formulated a special blend of the material for trial in replacing cement in dalle de verre windows. Several panels were poured of various sizes and thicknesses as directed by Benes.
These were subjected to tests for tensile strength, expansion, contraction, warpage, longevity and the like.
The subsequent evaluations showed that epoxy was by far superior in all ways to cement. It required less time for preparation, mixing, pouring and cleanup. It required no type of armature. It had a similar rate of expansion and contraction as the glass. When poured to a three-quarter inch thickness, a panel of 12 square feet could be handled by two men with little fear of breaking.
It could be seeded with all kinds of aggregate for surface treatment; it cured for handling in twenty-four hours and cured completely in five days. It came in many colors. It was a very durable, strong and waterproof product, with great adhesion to glass. Epoxy was magic stuff and though the cost per gallon was relatively high, it was just what the craft had been looking for. Epoxy and dalle de verre were joined from that day on.
Benes applied for a patent and began formulating and selling this material to American studios. He traveled extensively to demonstrate the proper methods of mixing and using the material. Special formulations were made for special situations and special colors were mixed. Robert Benes traveled abroad and pioneered the use of dalle de verre set in epoxy to the masters of Europe who had always used cement.
There were other formulators who soon began offering their product in competition. The depression of the s and s diminished the amount of building and new stained glass in the United States. Because of the shortage of craftspeople and supplies, little activity took place during World War II.
These two relatively unproductive periods closely followed each other and resulted in a renewed demand for stained glass when the war was over.
Also contributing to this new demand was an influx of books and magazines into the country showing the contemporary European churches. Architects organized tours abroad to visit the European churches. More Americans than ever before were traveling and taking slides to show the folks back home. It was not difficult to convince Americans that European styles were more up-to-date.
Architects offered clients new designs with stained glass. The pulpit, the font and the communion table were equally prominent and accessible. The scenes still featured symbolic imagery, perhaps even more so than in the Gothic period.
At this time, even non-religious scenes were included in church windows. Stained glass was used in buildings like town halls and wealthy homes, although the panels of homes were small and usually just painted on. The use of linear perspective is seen in some works and activity taking place far in the back, while other activity occurs close up front.
Figures in the pieces show feeling and emotion as the humanist movement of the time made this popular. Between the Renaissance and the mid th century stained glass windows fell from favor. This was largely due to changes within religious norms of the time — the church had been the supporter of the arts, and the new Protestants did not believe in fancy art work and decoration. By , stained glass was rare and only small panels featuring heraldry were used for homes and city halls. The English Parliament demanded all images of the Virgin Mary and the Trinity be removed from churches, so many stained glass windows were smashed by fanatic vandals.
The destruction only stopped because it was too costly to replace the windows. Stained glass window making became a lost art. Artists sought to recreate the lost technique of medieval stained glass windows. John La Farge and Louis Comfort Tiffany were makers of stained glass during the Art Nouveau period, and created opalescent, confetti, drapery, and ridged glass. In the last thirty years, interest in stained glass windows has again been revived.
Select fine art programs within colleges and universities teach the art of making stained glass and many individual artists have flourished. Stained glass making is also a very popular hobby. Stained Glass: Some basic information on stained glass and stained glass windows is presented in this article. History of Stained Glass : Follow the history of stained glass from the accidental discovery of glass during ancient times to stained glass post World War II.
Brief History on Stained Glass Windows: Read about some of the earliest examples of stained glass windows in this brief history. Gothic Cathedrals: Characteristics of Gothic style stained glass windows are given, and several pictures of stained glass windows in Gothic cathedrals are featured. Glass : This article explains how stained glass was made in ancient times and includes a section on stained glass windows.
Window Glass : Read a brief synopsis on how to make window panes and stained glass windows. Sacred Stained Glass: Stained glass windows were more than just windows and art; they contained symbolic messages and illustrated the Bible for lay people who could not read. This project covers a brief history of stained glass to provide some historical context for the art form, and then explores the techniques that can be used to create a window.
The specific technique used to create the window for the deliverable portion of this milestone was leading. The main difference between the class I took at Deko Studio and the classes offered at WPI is that WPI focuses more on the creation of the glass and objects directly as a result of glass blowing rather than creating something from pieces of glass like stained glass. The window for the deliverable section of this project was created as part of a beginners workshop exploring the techniques needed to design stained glass, cutting and grinding glass, and soldering the panel together..
This project was unlike anything I have ever done and was a great chance to experience a new art form. Stained glass is believed to originate from the Middle East as a way to bring light into buildings but allow the building to be completely closed. There is evidence of mastery of creating stained glass in Rome and Egypt, and it is believed that those empires helped to spread the art form. The earliest glass windows were a huge transition from how mankind had been using glass beforehand, mainly as weapon blades made of the volcanic glass obsidian and simple housewares such as bowls and vases.
Medieval churches began to commission windows with religious figures and the royalty of the period would request for windows bearing their coat of arms. The figures and forms in these windows were simplistic and lacking perspective.
The Augsburg Cathedral is believed to have the oldest existing stained glass windows, but the construction of the windows shows great knowledge of advanced techniques. The windows in the cathedral suggest that other prior windows had existed, because of the advanced techniques, and suggests the idea that the creator of the window had knowledge from all across Europe, but these are the earliest existing windows still standing today.
Gothic style stained glass windows, particularly in France, popularized the heavy use of reds and blues in window designs. The Gothic style of stained glass windows reigned supreme in cathedrals in the thirteenth century. This stylistic shift was a drastic change from the previous Gothic windows with their heavy use of vivid colors. Painting also allowed the windows to be made of larger pieces of glass as the lead was no longer needed to create every distinct line in the image.
Buildings were starting to be designed around the grandiose windows that would provide the majority of the light inside. A style known as grisaille rose to popularity to further enhance the light in the churches in addition to the churches being constructed with lighter stone. This style focused on a monochrome pallet on the background or entire window, with details painted on using silver.
The use of leading also was further reduced in favor of painting on silver stained glass driven by the desire for detail, but with more color than the grisaille style. Donors to the art also began to be immortalized in the windows they paid for by being added into the design. The renaissance brought the return of more vivid colors that had be scarce in the earlier centuries, and it also brought the use of perspective to the art form adding dimension to the figures.
Both forms had a significant amount of detail painted onto the glass, but only renaissance style windows matched the resurgence of colors in the other art forms of the time. The Gothic style made a resurgence in popularity because of its focus on the glass and historical techniques.
Many renovations of older buildings had damaged the stained glass windows, and allowed for new windows remade in the older styles to be placed into the buildings. Geometric based designs and landscapes with vibrant colors became popular in America and England during this time of revival. The twentieth century brought about new styles and applications to stained glass. The Aesthetic styles of patterned, semiabstract, and non-figural work became popular especially in the United States.
Stained glass also began to take on new forms, such as lampshades and other home products; this is known as the Arts and Crafts movement, bringing fine arts into the home of the middle-class. Art Deco in the early twentieth century made its way into stained glass using vibrant colors, geometry, and simple designs.
The movement had international popularity and appeared in many building across the world, especially in Spain. Today the use of stained glass is as varied as it has ever been, even being used in sculptural elements like Lightpainting by Stephen Knapp on the front of the Gordon Library at WPI.
This window exemplifies the simplistic forms of the time, with all three of the figures lacking facial detail and the heavy use of leading. A display of the coat of arms of the Dukes of Burgundy more characteristic of early stained glass windows. A 16th century grisaille panel with significantly less leading, and a non secular subject. A Tiffany style lampshade in the Art Nouveau style [11].
The purpose of stained glass windows is closely tied to its history, and has evolved over time. In the beginning, it was simply a way of letting daylight into buildings through small windows and keep the walls completely closed. As the windows became larger with larger individual pieces of glass, and higher quality was being produced in the medieval period, religious figures realized they could use the windows to educate the illiterate masses about the bible.
Religious education in the medieval ages was very important because the church was the highest authority in society, and to achieve salvation one must follow the word of God. The process of creating a stained glass window boils down to seven simple steps, but it can be altered based on the technique used and desired appearance of the window.
The first part of the process is to develop a design for the window, sketch out the basic shapes and colors of the window. The next step forward is to create a template, called the cartoon, from the basic design and solidify the finalized design.
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